Monday, September 28, 2009

Kiri-Kiri-Kiri...

Tartan UK Special Edition DVD


Shout! Factory Blu-ray (Downscaled)


Takashi MIIKE's international break-out hit Audition has had a painful history on home video in the US: the initial Chimera DVD from June of 2002, while progressive, was non-anamorphic and mastered from what looked like an unused Japanese 35mm release print. The contrast was hot, the colors boosted, and there was occasional film damage, but at least we could rest at night knowing that Chimera got the same transfer used by Universal Japan and Mei Ah of Hong Kong, so it's not like a better alternative was just waiting for them to pay more for it. An edited "R-rated" cut was also released missing a few minutes of footage, though seemingly it was regulated to the rental market where it belongs.

Extras were encouraging, but deeply flawed in their presentation; a lengthy director interview and a 2-reel commentary are excellent on paper, but for some head-slappingly bad idea I just don't understand, Chimera dubbed them in English instead of subtitling them. Guys, for real now, when the FILM ITSELF isn't dubbed, the extras probably shouldn't be either. Other extras included a tour of the Egyptian theater where (I assume?) Chimera was based out of, sort of a look into the secret lair, and original trailers for the film along with upcoming releases (including Miike's CITY OF LOST SOULS) rounded out the on-disc extras.

One thing I can't fault them for was the gorgeous digipack, complete with a mini-booklet full of Miike related liner notes from Chris D, author of Yakuza Eiga: An Encyclopedia of Japanese Gangster Films 1956-1980.


Tartan


Shout! Factory (Downscaled)


June 2004, Tartan UK comes out with their "Special Edition" to replace the heinous hard-subbed release they'd rushed in September of 2001. They come bearing a brand new PAL transfer that they seem to have commissioned themselves; it was anamorphic, from a nicer film print, and was generally considered the "reference" transfer Audition deserved on DVD by those who cared. It also featured an exclusive Miike interview, though I think it was a generic "career" based affair that Tartan basically put on all of their Miike titles, as well as a Miike trailer reel and liner notes by Joe Cornish... a British comedian. (What?)

Lionsgate bought the rights from Chimera, and released their own DVD in August of 2005. The good news was the DVD was finally anamorphic, ported over all the old extras (sans the trailers), and even included a new fluff piece on it being one of Bravo's 100 scariest movie moments, and a fascinating interview with Ryu Murakami, the author who wrote the book the film was based on. Unfortunately, the transfer they used was that glorious Tartan PAL master... as a PAL > NTSC conversion. The sad part is they could have quite easily transferred the PAL material to progressive NTSC transfer, if they'd had a clue what they were doing with it.


Tartan


Shout! Factory (Full Size)


So now Shout! Factory comes out with their own 10th anniversary edition, in both DVD and Blu-ray flavors. Owning both of the prior R1 DVDs, I'm excited to find out what I'm getting myself into, and it looks like a lot of care was put into this release... so I'll start with the good points, and no, none of the extras are dubbed in English this time:

*A new brief introduction to the film with Miike.

* Takashi Miike/Daisuke Tengan (screen writer) feature length commentary.

* Interviews with stars Ryo Ishibashi, Eihi Shiina, Renji Ishibashi, and Osugi Ren totaling nearly 74 minutes.

* Japanese and "International" trailers.

* Lossless Dolby TrueHD 5.0, Lossless DTS-HD Master Audio 5.0, and Linear PCM 2.0 Japanese with non-removable English subtitles.

* 1080P24 AVC encode for the feature.

* Booklet with notes from Tom Mes, author of Agitator: The Cinema of Takashi Miike. (Why the hell don't I own that book?)


As much as I want to read this, I think if I EVER saw that ugly-ass cover staring back at me I'd just start stomping on it...


Missing are the Ryu Murakami and Takashi Miike interviews found on the Lionsgate releases, though honestly I won't shed a tear for Bravo's 100 Scariest Movie Moments being left on the cutting room floor. There's no need to keep the old dubbed commentary, since the feature length track more or less makes it irrelevant.

As far as the new transfer goes, I'll let Cliff from Shout! Factory fill us in on the gory details:

The Chimera release was a master from a print. The Lionsgate release was done with the Tartan PAL master and the new Shout release was master(sic) in HD from the inter-negative. As you may know, prints are struck from the inter-negative, so that is why you are seeing the same markings. The film company wouldn't send the negatives to the U.S. so we had to use the inter-negative.

Well doesn't that just beat all... most HD transfers are created from a new Interpositive, which is a print made directly from the camera negative (or a "first generation" print). Even better, but usually reserved for Hollywood classics, is scanning the negative itself (OCN = Original Camera Negative). What we're seeing on this release is a "second generation" print made from an Interpositive, which is still better than a theatrical print as we've seen before, but not ideal. I have a sneaking suspicion that the Tartan transfer was made from an Interpositive and telecined in Japan at their request, but odds are I'll never know.

The good news is the new release seemingly blows all prior DVD releases away - both in terms of extras and audio-video presentation.
The film has always been presented in 2.0/5.0 in Japan, so I can only assume that's the original audio mix, and while the transfer is full of minor print dings and cue marks that could probably have been fixed with some digital clean-up, the only way to truly get a sharp, damage-free, and relatively grainless transfer is by going back to the negative and starting there, which it seems the Japanese rights holders don't want to do. Japan STILL doesn't have a 16:9 transfer of this film on home video, so I wouldn't hold my breath.

The bad news is... well, look at the screen shots and judge for yourself. The new Blu-ray transfer seems to have a red push, and while I can't say that I know what Miike's timing intentions were, I can say that the film's color timing looks slightly less natural than any prior incarnation. See HERE for more screenshots, and pay close attention to the color of the sky and skin tones. (And, yes, that's where I stole everything you see above.)

While the middle shot of Asami from the finale is a color timing improvement, the shot of Shigeharu and friend at the audition looks... well, it looks friggin' purple to me. But again, we're dealing with an Internegative as the source, and color anomalies that can actually vary reel-to-reel, depending on what film stocks were used through the process. This is exactly why full blown restorations try to go back to the original negative whenever possible. I'd wager that a newly printed and properly timed Interpositive would fix all of the color issues, but until Japan gets interested in making that happen, this will be as good as it gets.

That out of the way, the 1.78:1 frame seems to have opened the top and bottom matte ever so slightly. The grain is very unusual, being heavy particularly in highlights, and without containing much fine detail, but I'm willing to put that up to a combination of the original photography and the Interneg source before I would any severe digital manipulation.
Then again...


Shout! Factory (Full Size)


I see plenty of compression artifacts and some globby chunks of what were grains once, but nothing resembling actual celluloid like the other full-sized shot above. This looks like some pretty heavy median filtering, as opposed to the expected temporal DNR, which basically just blurs out the entire frame. Does it still look better than any DVD release? You bet! Could it look even better with a little TLC? Yeah, probably. But this seems to be the position I find myself taking on damn near every Blu-ray or DVD title I buy these days...

Being a crazy Audition fanatic I may keep the Lionsgate DVD, just for the old extras, but I won't hesitate to buy this Blu-ray either. Now, if we could just get Tokyo Shock to get the lead out on that ICHI THE KILLER release they promised...

Sunday, September 27, 2009

Blu-Ray Blunders: Chan gets Upscaled, Li gets... Painted?

Jackie Chan is not amused by this bullshit.
(Cropped, but not resized or processed in any other way.)


Jet Li is at a loss for words.
(Cropped, but not blah blah blahed.)

What's really depressing was that Kam & Ronson/Fortune Star released a fantastic transfer on Bruce Lee's THE BIG BOSS, and a slightly less impressive - but still "Full HD", as they say - restoration on FIST OF FURY. It gave me a little bit of hope that, after 25-0dd years of Hong Kong producers not bothering to properly care for their films, Blu-ray would finally be the turning point in the home video preservation of the great wealth of Hong Kong popular cinema...

...and then, POLICE STORY (top) and ONCE UPON A TIME IN CHINA (bottom) came out.

In the case of Police Story, it's just a goddamn upscale. Literally, someone put the 480i NTSC master, fit for no more than a competent DVD release, and put it through a hardware scaler board to make it 1080p. And yes, putting the old Fortune Star DVD in any decent upscaling DVD player would have effectively done the exact same thing.

This has happened before, I'm afraid, with Escape From New York (UK) and Traffic (US)*. The only positive thing I can say about 480i upscales is that the higher bitrates and newer codecs mean the audio and video are slightly nicer, solely because they don't have to worry about typical lossy Dolby audio encoding, or MPEG-2 macroblocking. The actual difference is pretty minimal though, particularly if the DVD was well made to begin with.

*Digital animation from before the HD revolution will continue to be upscaled rather than "Native HD" transfers, but since the master format of most TV shows and OVAs from the first half of this decade are NTSC Digibeta, it's pretty much upscale or bust.

Both of these films were shot on 35mm, which should have well beyond 2k's worth of information at the negative, so upscaling Police Story when a new "Real HD" transfer would have been as simple as pulling the negative out of storage and performing a new HD telecine, is really the definition of unacceptable. Shame on you, Fortune Star and Kam & Rossen...

As far as Once Upon A Time In China goes... I can't honestly tell if it's an upscale or not, though I can say without batting an eye that it's god-awful. The entire film has been drenched in this nasty grain reduction filter that literally makes the whole thing look like it was shot with crayons and colored pencils rather than with celluloid. Seriously, check out Li's hair and tell me that shit looks even the least bit natural!

My money is on it being a 480i upscale that was tinkered with at the upscale stage, but having seen evidence of shitty blurred transfers like Tremors, Evil Dead II, Salò, and Gangs of New York, I guess anything's possible...

Maybe I'll be lucky and get to post about a Blu-ray that isn't a turd next time. (Yeah, and maybe I'm a Chinese jet pilot...)

Monday, September 21, 2009

Hardcore Skinflicks

Soft Skin - Original VHS Recording


Soft Skin - Kentai Remaster Test Encode


If experience has taught me anything about Hisayasu SATŌ films it's this: they all look like crap on home video. Not that his unique brand of likely 16mm softcore/body horror films ever looked great to begin with, I'm sure, but Sato seems to have been forever stuck working with low-budget transfer and post outfits who consistently make far worse transfers than a copyright of 1998 would suggest. At least やわらかい肌/SOFT SKIN seems to have been edited on film and not video, which is more than I can say for the last Sato picture I released, 人体模型の夜/NIGHT OF BODY'S MODEL.

Rest assured, this flick is pretty awesome and you'll be a better person for watching it. When a chainsaw murderer running around is the LEAST twisted character to be found in the whole 90 minutes, you know damn well this has to be a Sato Special.

There's some problems that simply can't be fixed - temporal ghosting and moire patterns being the most obvious - but the chroma noise and weak contrast/gamma have both been fixed as well as can be, and of course the title has been upscaled for 16:9 displays. I guess I've largely given up on doing full A/B comparisons because there's not much left to say... I've gotten pretty damned good at restoring VHS sources, but there's always so little there to start with that I'm basically just polishing a turd. Rest assured that your polished turds from Kentai Films are of the highest quality, just don't expect them to taste like stuffed mushrooms or anything. Expect the encode to be finished in the next 24-48 hours.


Also worthy of pimping:


That's right kiddos, the Kentai Films approved release of STOP THE BITCH CAMPAIGN is finally complete. The Unicorn subtitles seemed like they were legitimately trying to express the Japanese dialog in English, but there was a massive break-down at some linguistic barrier, and the subs just wound up being... kind of nothing. I'd say they were hilarious, but that would undermine all the hard work of YaoiMastah actually taking the time to make shit up in a legitimate attempt to create lulz.

The most jarring sequence to re-translate was the part where Kuni-san (Endou) is playing doctor with a ko-gal chained up and on stirrups. In the Unicorn subs he's just talking about wither or not she's "clean". In the Japanese dialog he's saying that she's full to burst with babies, and starts naming them little cutesey things. When she doesn't play along to his standards, he gets fed up and leaves her there, which leads to the best punch line in the whole movie. There's a number of scenes that make a lot more sense in this new translation, but this one sticks out in my mind as the most obvious example of something being wrong on the Unicorn import. I guess for less than $11, comprehensibility is considered optional.

Saturday, September 19, 2009

Maryu To You... Soon!

Original LD recording before restoration.

Upcoming Kentai DVD Transfer

Holy friggin' crap!

There's currently no filter to re-seal my rotten LD, so I'm forever stuck with the banding and chroma noise filled source recording for Maryuu Senki, but the constant chunky gridding artifacts, severe rainbowing, print damage and even LD dropouts seem to be a thing of the past with this nearly magical chain of filters I've got going on. While the background has been slightly softened, I can't pick out any actual outlines that have gone missing in the complex gridwork of the opening scene, so I think I've finally made peace with using high quality DNR filtering on composite masters. The fact that I finally have a decent deband filter I can chain with the DNR to is a particularly big plus, since on some heinous looking VHS transfers I found that heavy temporal smearing did some good things, but the blatant banding and posterization was simply more than I could stand.

There is a minor catch in this setup, one that if I don't mention I doubt anyone but the most eagle-eyed OCD types would ever spot anyway... so maybe I won't. Having combed over every scene in this miserable rotten transfer I know the lesser of two evils when I see it, so as much as I'll regret a few minor mishaps that happen to pan shots, I know that realistically it's for the betterment of the whole. Besides, I could always mark them out and then re-encode them separately without the damaging filter involved, if it REALLY bothers me.

I've considered adding a thin layer of digital grain to the resulting transfer, but for various reasons may skip it this time. My goal is to fit all 3 episodes on a single layer DVD, so an average bitrate in 6.0 MB range is a must, and literally adding noise to a relatively low bitrate DVD like that is just asking for a level of compression related smegma that I could completely side-step with a little careful planning. Remember that I've given up using vertical filtering and all of that crap, so I'm still preserving more of the "remnant" noise than most people in my position would. This may change as I experiment further with Grain Factory, since I know it has a wide range of possibilities, but I'm just not yet convinced that this 20 year old LD transfer NEEDS to look like "film". It'd be nice, of course, but it's not, and try as I may to make it look like a fresh telecine from a 35mm IP, it just isn't possible.

So, want to see how that nasty rot-based banding in the final scene turned out after some vigorous digital scrubbing?


Original


Kentai


Rotting aside, of course, the latter two episodes actually look slightly worse from a technical standpoint. MARYU HENJO has some slightly heinous EE, severe rainbows, and some really strange looking moire/gridding patterns which remind me of the LD rot dropouts found on the first episode... heck, they may be just that, but the disc didn't literally melt in my hands to clue me in that it was on its' last legs. The moire leads to funky gridding patterns, and they're just not something that DNR alone can destroy due to the fact that they literally crawl up and down the screen.




MARYU SHINDEN lacks blatant moire and seems to have the least film related problems, but it has one of the thickest layers of chroma noise I've ever seen in my life. It's like the harsh grain of 16mm, but with all the colors of the rainbow!




I've seen so much worse, but I feel like I can still make a pretty big difference. Unfortunately the highly trained team of Kentai Films Ferrets who were supposed to perform extensive A/B comparisons seem to have chewed out of their cardboard bunker and escaped to wreak havoc through New England, so I'm back to pretty much being a one man show. When I'm satisfied, you'll know.

Friday, September 18, 2009

Lovelust

Trilogy of Lust German Trailer


Trilogy of Lust German DVD


The CAT III rated VCD release of 血戀/TRILOGY OF LUST is NTSC, has burned-in English and traditional Chinese subtitles, and comes with both the original Cantonese and Mandarin dubs. While I can't find an actual runtime, everyone and their mother agrees that the Cat III edition is edited, so how much of it (if any?) remains - and wither it features any "Bonus" footage - I don't yet know.

The uncut DVD is 87:57 PAL (about 92 minutes NTSC), is an old pan-scan transfer with no optional subtitles, and only has German audio. It's the same composite transfer that was used for VHS, and as you can imagine, it does look pretty damned awful, with dot-crawl, film damage, and compression artifacts mucking up pretty much every shot of the film. However, the fact that it features every second of hardcore footage - not mere inserts made with different actors, but genuine penetration with semi-legitimate Hong Kong film stars - makes it worth keeping as the only uncensored print available on DVD. Not speaking a word of Deutsch I can't say having the film dubbed is a plus for me personally, but at least the German dub doesn't sound too bad to a non-speaker; I can tell you from experience that Trilogy of Lust II is much less terrible in German than Mandarin, for whatever that's worth.

I suspect that somebody in Germany still has the uncut 35mm elements and could do a new transfer, but for that to happen somebody would have to think it's worth the several thousand euros that a proper 16:9 restoration would cost. I just don't think that'll happen, not unless Quentin Tarantino goes completely insane and buys the negative personally. If the guy can get What Have You Done To Solange? restored out of his own pocket, anything's possible.

I can always just get the Universe Laser VCD for the slightly ridiculous price of $10 plus shipping, though I've confirmed that Universe Laser also released a Laserdisc in the mid 90s. Unfortunately, finding any information on home video releases for this film is sort of like pulling teeth from a walrus; I'm not saying it can't be done, but when you're ready to give up nobody will blame you. It seems that there's also an uncut 4:3 English dubbed print with Portugese subtitles floating around at Video Search of Miami for $20 plus fondling charges, but odds are it's from a PAL VHS, so the quality could be worse than the already uninspiring German DVD I have now.

Thursday, September 10, 2009

Please Don't Say S.T.B.C.


Things may have been pretty quiet on the Kentai blog over the last few weeks, but don't assume that means I'm not hard at work. There's a trio of projects I'm knee deep in, and all of them pose unique challenges. I've already talked your ear off over IO, EMMANUELLE so all I'll add to that is the fact that the progressive PAL transfer is done, and I'm checking over the subtitles, doing my best to fix up a few bizarre translations, and breaking up those headache inducing Wall-O-Text(TM) style subs as best I can. Televista sure isn't making it easy, but I'll manage.

The second project is for all of you ENDOU Kenichi fans out there. 援助交際撲滅運動/STOP THE BITCH CAMPAIGN was an exploitation film released in 2001, based on the YAMAMOTO Hideo manga of the same name - yes, the very same Yamamoto who also created 殺し屋1/ICHI THE KILLER. The original manga took its' inspirations from the Japanese media reaction to Enjo-Kousai, or "Compensated Dating", in which teenagers used so-called telephone clubs to arrange meetings to prostitute themselves for money or gifts, a national shame/pass time that has only gotten more prolific with the internet and cell phones now being common place. I'd like to think that pimpless prostitution is the most noble and progressive form yet, but Japanese police and age of consent laws beg to differ.

The story swaps focus between a team of teenage prostitutes who decide to go "Geezer Hunting", setting up dates only to abuse and rob the potential Johns, and Endou and co. who decide to teach those whores a lesson by fucking them and then leaving without paying. Both sides are cruel hypocrites who twist their own selfish versions of morality around their violent acts, and unlike Ichi, the film doesn't seem to have a lot to say, other than "stand by your own"... unless "your own" that includes a cross dressing and dildo-toting Endou Kenichi. Seriously, if you ever see that, just run. Far away and as fast as you can. It's really a straight up frothy glass of offensive sex, violence, and rock 'n' roll held together primarily by Endou - here at his raving mad best - raping virgins while wearing nothing but Rocky Horror Show make-up and spouting regulations on how to best "convert" the nation's youth of selfish whores into upstanding citizens.

The criticism that the film doesn't have any likable characters to root for is a fair one, but I think it's a blast, and was excited to find out that it was released with English subtitles in Hong Kong... until I found out that Unicorn Entertainment was handling it. Unicorn had released the 2005 sequel - you know, the one starring AOI Sora, so it kind of beats the original by default - with subtitles in the deeply rooted Hong Kong tradition of Chinglish. The process goes something like this:

* Translate the Japanese line "Nice to meet you! Isn't this weather great?" into Chinese.

* Translate the Chinese line "It's good meeting you, and in such warm weather too." into English.

* End up with "Nice warmer weather to meet us in!" as the English subtitle on the DVD.


This tradition goes back to at least the 1980s, when Hong Kong would release hard-subtitled Japanese films with simple Chinese and English subtitles on video, but a combination of bootleg product and the simplicity of feeding a script into Babelfish has left jaw-dropping results, like incomprehensible English subtitles for films that are already in English! One of the most hilarious examples of this is probably RIGHT HERE.

One of my regular collaborators is hiring me as an editor for this project, but looking over the original script and the WIP Kentai-Approved translation, I might as well be translating half of this from scratch. Not that I mind, understand, it's just mind-boggling how nonsensical some of the HK subs are. I'm actually paused at a truly horrific sequence that I'll share with you all once it's done.

One of the interesting points, though, was that the guy who's hired me to do this specifically requested that the subtitle "Stop The Bitch Campaign" not actually be used in the film. His argument is that it's not (at all) an accurate translation of Enjo-Kousai Bokumetsu Undou, and he's right... while it may capture that certain hypocritical and tasteless aesthetic of the story, "Bitch" isn't an English word for prostitute. This isn't nearly as bad as the thousands of Hong Kong films who's English and Chinese titles literally have nothing to do with one another, but it's a good point all the same.

The major place I was considering using it (before he suggested I shouldn't) it was during the various "Enboku Code" sequences: Enboku is a made up word based on the 援 and kanji, and while it has no literal meaning, even in Japanese, it's meant as an abbreviated version of ENjo-kousai BOKUmetsu undou. Having no literal meaning, I thought translating it as "Bitch Campaign" would be appropriate, but I may yet settle on a similar nonsense word like "Eradi-Camp". Like I said, still a work in progress that needs plenty of reconstruction before it makes even the slightest bit of sense in English.

Finally, we have a shot from the third project that's keeping me up at night... think you can guess what it is? (If I've already told you, that's cheating!)


This will be a unique project for me, one that involves creating an English dubbed version of a film rather than a subtitled one. Unfortunately, the two prints I'm working with couldn't be any more different, so I think I'm going to have to start playing with some brand new software to make this work. Alternately I could be a lazy fucker and just buy a DVD-R version that some guy has already made, but judging by the fact that he's had to recall his initial release for synch errors, not to mention the fact that he's converted his source from PAL to NTSC, would simply add in all sorts of new potential problems for the materials I'm currently working with.

I'm hoping this mystery project goes well, since syncing separate audio tracks to different prints is the sort of thing I really should add to my list of stupid human tricks.

Wednesday, September 02, 2009

An IVTC For Emmanuelle

The name "Emanuelle" has become sononymous with Italian exploitation, thanks in no small part to the dozen or two pictures starring Laura Gemser as "The Black Emanuelle". In effect, Emanuelle was the local knock-off of the real life writer Emmanuelle Arsan/Marayat Rollet-Andriane, the Thai born wife of a French dignitary who used her life story as the basis for a saucy 1959 novel - simply titled Emmanuelle - in which a 16 year old girl discovered who she was through her sexual experiences. It's an early entry to the notion that being a total slut can be feminist empowerment, a notion I strongly support... possibly for all the wrong reasons.

The "original" Emmanuelle, in all of her progressively whorish glory.

She and her husband eventually came forward as the authors, and published a series of naughty sequels, which either calls into question the validity of her original memoirs, or makes her one of the busiest trophy wives in history. In either case, I wouldn't be horribly surprised.

Italian director Cesare Cavenari actually created the first on-screen portrayal of Arsan's persona with IO, EMMANUELLE - or 'A Man For Emmanuelle' as it's known in English - but it's not at all the film you might expect from the lunatic who directed Gestappo's Last Orgy, which I'd willingly nominate as the most awesome exploitation film ever made. The film has more to do with protesting and book burning than it does with oogling boobies - despite the lovely Erika Blane getting 'tastefully' naked a few times - and while an interesting socio-political artifact and yet another stylish Cavenari feature that defies both convention and explanation, it's not even in the same universe of over the top erotica fans more with the "Black Emanuelle" films of Joe D'amato and Bruno Mattei have come to expect.

The R1 release from Televista is a saturation boosted PAL>NTSC conversion of the R2 Italian transfer used by Medusa, so the R1 is only worth mentioning for the fact that it has English subtitles. Frustratingly, the Medusa transfer isn't much better, with ghosting on the opening titles, an interlaced transfer for the entire film, endless print damage, thick edge enhancement, constantly bizarre color, removal of what was surely heavy grain, and even remnants of composite video artifacts. It's got to be whatever 15+ year old transfer Medusa released on VHS, and the only thing they ever did to fix the poor girl up was upscale her to 16:9.


There's so many things wrong with the original telecine that it would easily take weeks to tweak it on a scene-by-scene basis, eliminating film damage and correcting the color... but the least this poor film deserves is a progressive transfer.


There, isn't that better? I had to manually key out specific ranges of 100% interlaced frames as a separate text file to properly deinterlace them, since TIVTC wasn't "smart" enough to pick up when there was some pretty heinous ghosting... I swear, parts of this transfer are running at 12 frames per second. I'll add that it's easy enough to remove that heinous film damage, but only at settings that'll do some pretty harsh damage to Cavenari's sweeping, zooming, hand-held camera work...


Oh sure, it looks great now, but what happens when we keep these same settings on a scene with a lot of movement and small shiny objects that could - mathematically - be mistook for film dirt?


Original Frame

HOLY SHIT, WHERE DID HER BUTTONS AND COLLAR GO?!