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Special combo: "Texas Tom" RAW scans!
🕑 Added 2022-10-14 10:56:43 +0000 UTCAfter a little delay (sorry for that, it's a busy period), I have the pleasure to offer you Patrons a special content: this link, brings you the possibility to get access to a folder that contains the two RAW scans (in 1080p) of "Texas Tom".
This is a great chance to take a first look to the two new scans that will be used to made a brand new restoration of this terrific classic. The two prints, are a 16mm IB Tech print with original titles (courtesy of Steve Stanchfield), and a 35mm IB Tech print of the 1957 reissue, both recently scanned in 4K!
These great transfers, are made available to Patrons to give them a first idea of the quality of the material we're gonna use to restore this specific short. Unfortunately, both prints suffer of vinegar syndrome, and we scanned them just in time (you'll see the effects of the syndrome for all the duration of the films). Apart from that, the 16mm print is in great shape, with no splices or missing frames. On the other hand, the 35mm print has several splices and missing frames, and I'm working to get other two 35mm prints scanned soon, so we can recover some of the missing frames.
Restoration work, as always, will be done by my great friends "Not An Animation Historian" and John Ackerman, so thank you in advance guys!
Well, that's all for now, hope this kind of contents could be of interest for you. And you, which one print do you prefer? The 16mm print, or the 35mm one? Let me know in the comments, and don't forget to stay tuned, as always, for other great contents: any suggestion is welcome!
You can watch and download these contents in HD, by subscribing to my Patreon channel, where you'll also find other great contents. Enjoy it, and stay tuned!
Comments
Well, you're right, but the fact is that the two scans have been done differently. The 35mm print seems to need of a complete color correction. I think it depends of the brightness of the film scanner, but not only that, it seems that 35mm reissue prints always have some problems with the colors. The 16mm on the other hand, gives a better idea of the original look of the colors, and eventually we'll start from there for the colors. But anyway, that will be the last step, now the important thing is to get all the prints scanned, and to analize scene by scene to see which print is better for each of them. After that, we can start the restoration work. It will be an hard work, but it's only a matter of time!
Question: the Stanchfield print and the 35mm have very different color balances. If the restoration team is supposed to be editing them together, how can they fine tune the colors to look more consistent? I'm sure they'll look great nonetheless.
