Lost Blu-ray

[Author Metcalfe]

Iremoved all the blanket yellow tint and was left with the colours that you see in my regrade. I appreciate that you think I have removed too much yellow but I can very clearly see that that is not the case, I can see that with pretty much 100% certainty. This feels to me like a case of you shooting the messenger, blaming me for how the blu-ray transfer looks under the blanket yellow tint, which is completely out of my control. The Titanic looks much more conventional colourwise under the blanket yellow tint but I did exactly the same as I did here, just remove all of the blanket yellow tint.

I removed all the blanket yellow tint and was left with the colours that you see in my regrade. I appreciate that you think I have removed too much yellow but I can very clearly see that that is not the case, I can see that with pretty much 100% certainty.

This feels to me like a case of you shooting the messenger, blaming me for how the blu-ray transfer looks under the blanket yellow tint, which is completely out of my control. The Titanic looks much more conventional colourwise under the blanket yellow tint but I did exactly the same as I did here, just remove all of the blanket yellow tint.

The colors of these releases cannot simply be transfered to the other with a single curves adjustent, or any other single color adjustment for that matter (although more advanced techniques will produce better results). Yet, the bluray can be almost perfectly color matched to the other two sources (not with curves adjustment mind you).

This is just nonsense. The RGB values for the flesh tones are identical, as such the flesh tones are identical. The only difference between the two images is the DNR applied to the bluray, which obviously has some effect on some of the image dynamics, which simply cannot be recovered by any methodology, least of all curves adjustment.

This really makes no sense to me. The changes to the image dynamics by just applying a curves adjustment are orders of magnitude larger than the margin of error of an algorithm. The color grading of an official release is not done with curves adjustment, as such the underlying colors cannot be retrieved by curves adjustment. Applying simple curves adjustment will result in small margins of errors in some areas of the frame, but very large errors in other parts of the frame (like for example good looking skin tones with undesired color casts in the background). The entire basis for using an algorithm is to solve the limitations of curves adjustment, which is essentially curves adjustment in dozens to hundreds of color spaces.

To clarify, the simplest case of the algorithm in just one color space (the RGB color space) is just simple curves adjustment as you applied it to the bluray, and thus has the largest margin of error. The more color spaces you use, the smaller the margin of error.

Yeah, sorry I was a bit rude, but it seemed like a rather petty way to deflect reasonable criticism on one particular regrade of yours by shifting the focus of the discussion to quantifiably negligible differences between the 35mm colors and the second color match I presented. That pissed me off a little. Anyway, I should not have said it was nonsense, so I apologize.

Vinegar Syndrome was founded on the principle of finding and restoring the rarest, weirdest, and often lost works of genre cinema. To celebrate ten whole years of incredible exploitation cinema preservation, we proudly present THE LOST PICTURE SHOW - a ten film collection of some of the most incredible and incredibly strange pieces of genre cinema you've never been able to see, all restored from the best known and surviving elements!

A vanity-project-cum-nuclear-holocaust-scare-film made apparently for altruistic reasons by a middle-aged optometrist from Cape Cod, RED MIDNIGHT (1966) is simultaneously an incredibly ambitious treatise on the potential danger of over-crowded urban environments and a trashy exploitation film.

The final film from Orson Welles collaborator (!) Albert Zugsmith, the incredibly sleazy rape and revenge mystery VIOLATED! (1973) stars Rene Bond in one of her finest dramatic performances and is an all-out assault of bad taste and pure drive-in trash of the highest order.

This one's for the freaky folks who REALLY wanna help get all this lost footage out there as fast as possible (and I thank you so much for that!! ?) If you're looking for exclusive Patreon merch, this here is the place! You'll get access to everything in The Lost Drive-In, but you'll also be able to access to Patreon only videos (Ask Joe Bob, game reviews, etc.) & Discord watchalongs, plus all the old Joe Bob episodes when I rotate 'em out to make room for more. I'll also send you out a Patreon Exclusive Blu-Ray with some of Joe Bob's cl-ass-sick episodes as a way for us to say "THANK YOU!!!". Plus, you'll get the Patreon exclusive merch (starting with the tee shirt) to help show off your Drive-In Spirit!! :) xoxo

This is a special series of lost classic programs from the Golden Age of TV. The series has been restored by SabuCat Productions from the best archival film elements available in high definition, some of the programs have not been seen since they were originally broadcast. Volume One features 2 one-hour dramatic programs that feature John Cassavetes.

HD DVD was one of two formats for high definition DVDs. The other format was Blu-ray. HD DVD specifications were put in place in 2002. Negotiations among consumer electronics companies to have only one product for playing high definition discs ended when there was no consensus about royalties. HD DVD was primarily funded and marketed by Toshiba and NEC and was first released as a consumer product in 2006. When HD DVD was first launched, it had a sales lead over Blu-ray. Industry analysts say that Toshiba lost almost $1 billion supporting the format before abandoning it in 2008. There are a number of reasons that the HD-DVD format lost out to Blu-ray, which was championed by Sony (SNE). The most commonly cited explanation is that Sony did a better job convincing major film studios to release high definition editions of movies for Blu-ray. Sony may have had an advantage because it owns one of the largest studios. Analysts believe that when Sony got Warner Brothers to adopt Blu-ray exclusively, it won the battle against HD DVD. Toshiba had several explanations for the failure of its product. One of those that it mentioned most often was that the digital video download business hurt sales of physical DVD players. That argument does not carry much weight because downloads should have hurt Blu-ray just as much. The final blow to HD DVD was probably when Wal-Mart (WMT) decided to stop offering the format in favor of Blu-ray. There has been no compelling analysis as to why Blu-ray survived and HD DVD did not. One thing is certain. Sony was willing to continue to spend money even though the future of high definition disks was not assured, and that risk is not over. Blu-ray is still not a staple in most consumer entertainment systems.

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