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  #1331  
Old 7th February 2019, 07:48 PM
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Hopefully it's the rights...

...all of them!
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  #1332  
Old 7th February 2019, 09:37 PM
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Quote:
Originally Posted by keirarts View Post
OK.... My ten cents on shameless as they are now...

When they first started issuing stuff in the DVD era their stuff was always worth buying. Their night train murders was a much better presentation than my old anchor bay DVD. They unearthed stuff like Ratman (i like it, don't judge) and footprints on the moon. However its hard to deny something has gone awry with their blu-ray output. Perhaps its budget? they may only have a certain amount of cash to spend on each release. However the market for physical media has changed. These days its a rush to who has the most features, the best transfers ect ect. Some of the decisions lately have left me puzzled.

Cannibal movies. I would also include 88 here. But even a layman would tell you there is no way these titles would get through uncut. The BBFC inevitably are going to cut them and then fans are going to go nuts on social media.

The church. Looks fine. Not much difference to the scorpion one. I've still bought the 2-disc scorpion one though because it has extras.

The sect. Looks fine. But wrong aspect ration and some issues with the transfer. Here the import releases like German and American (scorpion) releases look better. Apparently shameless accepted a scan that other firms took a pass on here.

Almost human. Looks a bit fuzzy perhaps but is this film grain or scanner noise. I've just punted on the code red release on WOWHD for 14 so we shall see.

Torso. Biggest fail for me. No reason to trade in my older Blue underground release as this had no extras or the two different cuts of the film that one had. Bare bones and an awful cover. Then Arrow released a newly upgraded scan and packed with extras. So why bother buying it?

Dellamorte Dellamore. Shameless told me they couldn't get a HD release so DVD only. I ended up buying the Italian blu-ray. Then they announced it. Again. Why bother? Especially with the bad feedback over the release.

So... I'm upgrading most of the titles Shameless released or I never bothered buying them. The only ones I have now are All the colours of the dark (and i'll be getting the severin release once the standard version is out) that looks fine and Strange vice which again looks good to my eyes. I've got case of the bloody iris but we shall see what happens with that as well.

Arrow, Second run, nucleus, indicator... the uk has some great labels. 88 have issues but seem to be improving. Shameless really needs to up its game. Perhaps secure something genuinely obscure but interesting and then crowdfund a professional restoration.
Just a quick question, are torso (arrow us), the church & the sect (2 disc edits) region locked? If they are not, i was going to order from diabolik....thanks in advance!
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  #1333  
Old 10th February 2019, 06:37 AM
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Quote:
Originally Posted by Nostalgic View Post
Just a quick question, are torso (arrow us), the church & the sect (2 disc edits) region locked? If they are not, i was going to order from diabolik....thanks in advance!
Yes in both cases.

Worth investing in a multi-region player.
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  #1334  
Old 10th February 2019, 07:30 PM
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Thanks, if i went multi region i would spend a fortune! Lol!
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  #1335  
Old 5th April 2019, 12:04 PM
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Wonder how they are going to mess this one up!

"Shameless proudly presents Lucio Fulci’s THE BEYOND aka ‘L’Aldila’

Format: Blu-ray
Release date: mid-May...

When jaded New Yorker (Catriona MacColl) inherits a New Orleans hotel, she calls on composed local doctor (David Warbeck) to contain the inexplicable and increasingly gory accidents that are plaguing the building and its grounds. But soon the Gates of Hell themselves open under the hotel, rendering their fight futile as the dead emerge to walk the earth...

NEW EXTRAS -

• ‘Emily’s Eyes’ – an interview with actress Cinzia Monreale with English subtitles.

• ‘Arachnophobia’ – an interview with actor Michele Mirabella with English subtitles.

• ‘Murder, They Wrote’ – a unique interview with scriptwriter Giorgio Mariuzzo on working with Lucio Fulci with English subtitles.

• THE BEYOND prologue four-way comparison, showing: The Standard Sepia + the Original Colour + the B&W version + the new fourth-way: the Yellow-toned sepia version.

ARCHIVE EXTRAS -

• Sergio Salvati audio commentary with English subtitles

• Catriona McCall and David Warbeck audio commentary

• Lucio Fulci banter on set (short)

__________________________________________________ _________

Shameless is proud to present The Beyond, released on Blu-ray for the first time ever with four different versions of the prologue seamlessly branched:

(1) The now accepted tandard sepia
(2) The original colour footage
(3) The B&W version
(4) A new fourth-way: the Yellow-toned sepia version which we’ve created as an addition, after consulting various notes from director of photography (DOP) Sergio Salvatti.

We do not profess that either the original colour, the B&W version, or new gold-yellow toned sepia versions are the correct versions intended by director Lucio Fulci or his DOP. Instead we have presented the film with the four different prologues so fans of Fulci’s masterpiece can see the original colour it was actually shot on, as never seen before, and to show the various stages of the filmmaking process of this landmark film. We’ve also endeavoured for the first time ever to present a rendering of the yellow coloured sepia, which Salvati has referred to on occasions, so that fans can see this as well. We want to give fans the option to see what this may have been designed to look like, and we hope that the striking new additional alternative visuals may enrich the viewing experience.

Even though it would have been a much lower cost to shoot the prologue using B&W (monochrome) stock - and budgets were always tight on productions then - there was deliberate choice by Fulci, Salvati and his team to shoot the ‘prologue’ in colour (panchromatic). This was a clear plan, and the sophisticated photography and the manner in which it is lit, infused by low level contrast lighting such as torch and other warm lights, results in a magnificent cinematographic chiaroscuro. Our assessment is that one doesn’t apply that level of artistry in order to ‘reduce’ the overall vision to flat monochrome – albeit a sepia toned one, where the process is essentially tinting in ‘sepia’ the black part of B&W.

Shooting in colour (film) was much more expensive: there was the much higher cost of colour stock which in turn required more light, since colour film is less sensitive to light, which also added to production costs. Then the developing and the related post production of colour would have been far more expensive than B&W. Therefore since the prologue was shot on colour negative, it was by design and for a specific purpose regardless of the extra expense otherwise it would have been shot with B&W film stock.

Notwithstanding the beauty of the colour in that opening sequence, the decision was taken by Fulci and Salvati to apply a special colour to it during the chemical film processing. Of course there was no digital manipulation then so the effect was achieved using photochemical methods starting with the colour negative they’d shot on. The colour negative was therefore printed and toned in a certain manner to achieve the visual goals set by Fulci and Salvati.

Interviews and texts regarding that creative process indicate that the effect was designed to enhance the highlights of the burning torches, also the car headlights etc. Several references are made where Salvati refers to a ‘yellow’ tint while at other times the more general term ‘sepia’ is used.

We were diligent and fortunate in being able to access the colour footage of the ‘prologue’, which we had scanned in 2K and restored in order to show how visually stunning it is. And from that original colour base, we also created a fourth interpretation, the yellow-gold toned coloured sepia version sometimes referred to by Salvati:

'We filmed in colour, it had great atmosphere but we decided to tint it… It was mine and Lucio's idea... and graded by Luciano Vittori of Studio Vittori. It's such a powerful opening sequence, we removed the colour from the torches to create atmosphere…I opted for the soft yellow, almost golden filter to enhance especially the torches, car lights … and the burnt lime on the painter’s face. What I was trying to recreate was the effect of an old, yellowed photograph, something outside time, establishing a gap between the prologue and the present day as though they were two separate films, divided by an infinite arc of time indicating the Dimension of the Afterwards. I discarded the usual sepia, the colour of memories, since there are no relationships between the characters based on memory; instead, THE BEYOND is a horror which lies outside time and space...'

We followed information (some taken from Salvati’s own commentary featured in the Shameless release*) and reports regarding the colour and also took into consideration the more atmospheric and metaphysical goals, which the filmmakers also say informed their vision of The Beyond.

Our aim was to provide not only all previous versions of the film, but also a further choice for fans: a version where the application of a ‘sepia' or often referred to as 'yellow’ tone is made by using the colour image as a base, instead of a monochrome B&W base.

The result, we think brings a depth in the visuals never seen before while keeping the desired process of making the sequence looking like an old photograph in order to make the prologue appear distant and otherworldly as was originally envisioned by the filmmakers.

*Sergio Salvati from the audio commentary on the Shameless release of THE BEYOND (translated): ‘We filmed it the usual way, in colour, as you always do, because it's better to start with colour rather than black and white… Then I’d discuss it with Lucio Fulci, who was always looking for something more... it had great atmosphere but we decided to tone it. We did it to enhance the car lights, especially the torches which are in various shots, to make them look a bit unusual.’"
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  #1336  
Old 5th April 2019, 12:05 PM
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I'm happy with the arrow release so not too fussed, shame arrow ain't doing a new edition

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  #1337  
Old 5th April 2019, 12:09 PM
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That has to be one of the most brutally disappointing announcements I've ever seen. How did Arrow let that one go?

This is in dire need of a new transfer and it's not going to be coming from Grindhouse in the US given their lack of activity.

And that much effort for the opening sequence? Wish they could put that much into the whole film.
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  #1338  
Old 5th April 2019, 12:15 PM
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Damn, I was hoping for an Arrow special edition like COTLD
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  #1339  
Old 5th April 2019, 12:15 PM
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Just stick with my arrow version as there is bound to be a problem with the transfer and as usual there will be zero extras.
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  #1340  
Old 5th April 2019, 12:26 PM
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Pretty disappointed, won't be buying it Hopefully there will be another worldwide release coming, I presume Grindhouse still have it in the US, although it's out of print. I'd be happy if Scorpion pick it up, or Umbrella in Aus.
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