This is topic Did anyone get "THE YEARLING" DVD? in forum Film-Yak at Film-Tech Forum ARCHIVE.
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Posted by Claude S. Ayakawa (Member # 1401) on 09-06-2002, 01:57 AM:
I still remember seeing "THE YEARLING" when I was only seven years old. After almost 56 years, I still remember this film starring Gregory Peck, Jane Wyman and Claude Jarman Jr. with a lot of fondness. I bought the laserdisc of "THE YEARLING" many years ago and remember not being too impressed with the image quality because it had appeared to have been made from an average quality Eastman color print rather than the original IB dye transfer source. I just read a review of the DVD and learned that Warner Brothers struck a new print from the original seperation negatives and the image quality is superb! Did anyone get this DVD? If you did, how is the quality?I was informed that "THE YEARLING" is among the first to be released by Warner Brothers on DVD with a process that preserves the look of IB Technicolor on video. The next IB Technicolor film to be released on DVD with this new process is "SINGING IN THE RAIN" which was released on DVD once before back in 1997 when the little video discs were first introduced.
-Claude
Posted by Jeff Taylor (Member # 443) on 09-06-2002, 01:15 PM:
Claude: Let's hope Warners is on to something. In truth, though, Technicolor dye transfer prints are apparently not a great source for telecine transfer due to the high levels of contrast and color saturation. Back when television stations broadcast film prints it was common to strike low contrast b/w and color prints for the purpose. 16mm collectors commonly bemoan especially the b/w former TV prints which pale in comparison to the high silver theatrical density prints produced for rental purposes.
Posted by John Pytlak (Member # 331) on 09-06-2002, 01:55 PM:
The best film-to-video transfers are usually made from a low contrast pre-print element such as the original negative, master positive, or duplicate negative. No telecine can handle the very wide range of brightness on a release print (often over 10,000:1 for Technicolor dye transfer or KODAK VISION Premier Color Print film) without losing some highlight or shadow detail.With modern color correction tools (e.g., daVinci color corrector), most telecine colorists should be able to achieve the "look" of a particular print film, within the constraints of the DVD and video display system.
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