BladeZone's Off World Forums

deleted wrote:First, look at the color change thread.

Second, pull out your DC disc(s) and compare them to the final cut when you get the set. The difference is there.

Ask CDL. He can confirm it.

Later, I speak with WB vice president of post production Kurt Galveo, who took a hands-on role in the transformation of Blade Runner to high-def disc. "We wanted to make sure that no matter what platform you look at it on, you always see the same thing," says Galveo. "We try to match the warmth, color, and texture. To keep that same kind of image on video, there are adjustments you have to make in color, because electronically it's a different color space. Plus, sometimes you have to add grain. When we scan the image and put it on digital form on disc, it can be too clean; you have to add texture so it looks like people remember it from the theater. But sometimes you literally have areas in the film where there's too much grain ? opticals [special effects], for instance, can actually introduce more grain ? so we have to take some out. It goes both ways."

And there's even more knob-turning required. "You do have to adjust contrast," Galveo continues. "It depends on how the scene was shot and lit. Also, compression can change what the blacks look like. Electronic blacks and film blacks look very different. You have to balance it out so it looks like the original."

Charles de Lauzirika wrote:The color-timing of The Final Cut on the DVD is exactly the same as it was in theaters, and is exactly the way Ridley Scott wants it. It all comes from the same master he personally supervised and approved.

However, the archival versions of the film have been beautifully cleaned-up and remastered, but feature the more traditional color-timing seen on past releases. The Workprint looks a little rough but considering how deteriorated the source print was, the color-timing and clean-up work on it are pretty astounding.