Shame the exclusive extras from the German DVD by Bildstörung couldn't be ported over (including an interview with the late Trish Keenan!), but this looks excellent nonetheless. I'll just have to carry on having three copies of the film

What should the many different restorations have in common based on the geographical location? Maybe you should keep your racism to yourself? Furthermore this is not an "Eastern European" release, nor is it claiming to be a "restoration". All the past and current NFA restorations are listed on its website https://eea.nfa.cz/cz/filmy/ and Valerie isn't there.tenia wrote: ↑Sat Jan 25, 2020 7:54 amThat's... weird. I expected SR to simply be an equivalent of the Critierion disc, not to be that different. It's not only quite green and probably over-contrasted, it's also dirtier and has a different framing.
Checking back, the Criterion release was actually based on an internal job (4K scanning: Universal Production Partners, Prague / Colorist: Lee Kline/Criterion Post, New York / 4K resolution on a Northlight film scanner from the 35mm original camera negative) while this is a completely different CNFA job (contrary to what I thought).
It's surprising since the Czech Film Center talked about Valérie through its Criterion 4K restoration in 2016.
In any case, I'm finding more and more Eastern European restorations to be quite variable in quality. Polish ones, for instance, can be plagued with DNR.
NFA will scan what Second Run will tell them to scan. If they wanted they could have scanned the negative just like Criterion did. But obviously a full restoration from a negative is way more expensive and Second Run doesn't want to pay for that.Calvin wrote: ↑Thu Feb 06, 2020 9:25 pmIt is disappointing that this seems to be inferior to the now 5-year-old Criterion transfer. Even ignoring the colour, there's evidently more damage to the source element. What that might be, I'm finding it difficult to find out. Criterion scanned the original negative in 4K, which one would assume is owned by the Czech NFA, so I'm baffled as to why the NFA would subsequently scan a later generation element. "Brand new HD transfer of the film from original materials by the Czech National Film Archive" implies that it's post-Criterion's 2015 effort anyway, though I notice that the word 'restoration' is absent from the package.
True, but I wonder if they couldn't just have acquired the existing scan (from around 2014/15?) that Criterion used, even in a pre-restoration state. It's apparent that they used a different, inferior source element, and then didn't even bother to do any appreciable amount of color correction.
I'd be angrier with your choice to blithely call another user racist if it weren't so baffling and so inaccurate ("eastern European" is not a race).uajii wrote: ↑Thu Feb 13, 2020 1:01 pmWhat should the many different restorations have in common based on the geographical location? Maybe you should keep your racism to yourself? Furthermore this is not an "Eastern European" release, nor is it claiming to be a "restoration". All the past and current NFA restorations are listed on its website https://eea.nfa.cz/cz/filmy/ and Valerie isn't there.tenia wrote: ↑Sat Jan 25, 2020 7:54 amThat's... weird. I expected SR to simply be an equivalent of the Critierion disc, not to be that different. It's not only quite green and probably over-contrasted, it's also dirtier and has a different framing.
Checking back, the Criterion release was actually based on an internal job (4K scanning: Universal Production Partners, Prague / Colorist: Lee Kline/Criterion Post, New York / 4K resolution on a Northlight film scanner from the 35mm original camera negative) while this is a completely different CNFA job (contrary to what I thought).
It's surprising since the Czech Film Center talked about Valérie through its Criterion 4K restoration in 2016.
In any case, I'm finding more and more Eastern European restorations to be quite variable in quality. Polish ones, for instance, can be plagued with DNR.
NFA will scan what Second Run will tell them to scan. If they wanted they could have scanned the negative just like Criterion did. But obviously a full restoration from a negative is way more expensive and Second Run doesn't want to pay for that.Calvin wrote: ↑Thu Feb 06, 2020 9:25 pmIt is disappointing that this seems to be inferior to the now 5-year-old Criterion transfer. Even ignoring the colour, there's evidently more damage to the source element. What that might be, I'm finding it difficult to find out. Criterion scanned the original negative in 4K, which one would assume is owned by the Czech NFA, so I'm baffled as to why the NFA would subsequently scan a later generation element. "Brand new HD transfer of the film from original materials by the Czech National Film Archive" implies that it's post-Criterion's 2015 effort anyway, though I notice that the word 'restoration' is absent from the package.