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Post by Alan Turrell on Sept 22, 2017 8:42:01 GMT
Great news one of my favourite tv series of all time i'm hoping it's The Resurrectionists but any episode is welcome.
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Post by George D on Sept 22, 2017 13:13:13 GMT
Lets hope this audio episode doesnt end up in a black hole (and potentially lost again) like A for Andromeda 7.
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Post by Paul Vanezis on Sept 23, 2017 7:18:16 GMT
Lets hope this audio episode doesnt end up in a black hole (and potentially lost again) like A for Andromeda 7. Interesting that when I looked on Lost Shows this morning, it only lists 10 missing episodes from series 2, whereas we all know that 11 are missing. Audio only? Answers on a postcard... Paul
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Post by John Green on Sept 23, 2017 9:45:40 GMT
Wiki could do with an update,in more ways than one. It would be nice to see the author of the AA booklet credited. Andrew Pixley,I believe? I'm not sure that " The last episode of Series One, "D For Destruction", thought to be among those lost forever,(which) was recovered in 2003, in the BBC Archives in a mislabelled film can" really has "since been screened every year at the Missing Believed Wiped event."
When DC Comics decided to de-power Wonder Woman in the 1970's, turning her into a second Emma Peel, one of the first stories involved a bullying,thickset woman threatening a younger girl. Always felt it was inspired by the opening episode of Adam Adamant, while the basic plot of TV's Funland is surely close to AA's own Blackpool adventure, Death Has a Thousand Faces.
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Post by Paul Vanezis on Sept 23, 2017 10:16:57 GMT
Wiki could do with an update,in more ways than one. It would be nice to see the author of the AA booklet credited. Andrew Pixley,I believe? I'm not sure that " The last episode of Series One, "D For Destruction", thought to be among those lost forever,(which) was recovered in 2003, in the BBC Archives in a mislabelled film can" really has "since been screened every year at the Missing Believed Wiped event." When DC Comics decided to de-power Wonder Woman in the 1970's, turning her into a second Emma Peel, one of the first stories involved a bullying,thickset woman threatening a younger girl. Always felt it was inspired by the opening episode of Adam Adamant, while the basic plot of TV's Funland is surely close to AA's own Blackpool adventure, Death Has a Thousand Faces. Says this in the Wiki: "Five-disc Region 2 DVD box set containing all 17 surviving episodes in digitally re-mastered form. Includes 64-page collector's booklet Adam Adamant Lives!: Viewing Notes, written by Andrew Pixley." The "every year" comment is obviously bobbins. Paul
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Post by Alan Turrell on Sept 23, 2017 10:22:18 GMT
On my Adam Adamant bbc dvd set i was a bit dissapointed with the audio on some episodes, i have to turn it up almost full volume . The only episodes from season 2 on the dvd is Black Echo and the final episode A Sinister Sort of Service.
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Post by Paul Vanezis on Sept 23, 2017 10:24:42 GMT
On my Adam Adamant bbc dvd set i was a bit dissapointed with the audio on some episodes, i have to turn it up almost full volume . The only episodes from season 2 on the dvd is Black Echo and the final episode A Sinister Sort of Service. Sadly, it wasn't a release the Restoration Team were involved in. If it had been, I think things would have been different. Paul
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RWels
Member
Posts: 2,862
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Post by RWels on Sept 23, 2017 16:26:28 GMT
It had extras, and that's already something.
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Post by Alan Turrell on Sept 23, 2017 17:23:16 GMT
It had extras, and that's already something. Yes the extras are really good all in all a really good dvd set apart from the audio.
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RWels
Member
Posts: 2,862
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Post by RWels on Sept 23, 2017 20:11:59 GMT
On my Adam Adamant bbc dvd set i was a bit dissapointed with the audio on some episodes, i have to turn it up almost full volume . The only episodes from season 2 on the dvd is Black Echo and the final episode A Sinister Sort of Service. It has HoH/HI subs; I often use them when I don't feel like turning up the volume to 11. I was very happy when I finally found subtitles for all* of The Avengers too. I miss them when they're not there, on Network releases for example. * OK, all beginning from series 2 onwards.
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Post by Robert Lia on Sept 23, 2017 21:40:14 GMT
I believe at the time 2lent was trying to branch out and use other sources for restoration. It back fired obviously and if I remember correctly I think a maximum of 4 episodes were sent back to be done again as the quality was poor. Paul V could probably confirm or deny that
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Post by Paul Vanezis on Sept 24, 2017 7:27:52 GMT
I believe at the time 2lent was trying to branch out and use other sources for restoration. It back fired obviously and if I remember correctly I think a maximum of 4 episodes were sent back to be done again as the quality was poor. Paul V could probably confirm or deny that Hah! Well in fact they wanted to branch out into no restoration. Obviously that was cheaper. Some material was so poor that it needed some intervention, mostly due to the poor quality of the available transfers. They went back to the film for those I believe. There were only two projects that involved actual restoration as opposed to basic remastering that we did not do using the team. Spearhead was supervised by Steve, but because it was an HD deliverable, it was done by studios and post. The other was Pride and Prejudice. Again, HD, but Worldwide wanted to remaster the film from the negative. The trouble with doing that with super 16mm neg is that the negative is actually on two rolls of neg, an A roll and a B roll. Each alternative shot is on a separate roll, with black spacer between shots. To make a TX print, the rolls are run together on an optical printer and a perfect print made. You may wonder why the negative is on two rolls. That's because the frame line between frames on 16mm is so narrow, that if you cut each shot together consecutively on one roll, you would see the physical splice at the top of the frame. Every cut would be dirty. Back then transferring A & B rolls would produce a bounce on each cut, so each shot had to be stabilised, something that Worldwide didn't want to do. So they did something even more bonkers. They took the original A&B negs to an outside company who had a new system for putting A&B neg onto a single roll. First, each cement join had to be carefully disassembled. This is hard. Then a new cut is done across the frame line at a slight angle. Finally, the new cut is joined to a similar cut on the next shot on the other roll using a newly developed high performance glue. The result is an extremely expensively produced single roll neg. It's the only time this was ever done on a BBC production. The Blu-Ray didn't sell that well because everyone had their DVD copies still and it was very time consuming and expensive. There is also the obvious issue of chopping up the archive master, and the errors that could creep in. And of course, with modern scanning techniques, the problem of bouncing joins goes away. Regards, Paul
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Post by Robert Lia on Sept 25, 2017 4:02:02 GMT
I stand corrected, sad that 2ent was so cheap they did not attempt to do a proper job especially considering how many Doctor Who fans there were who they knew would be buying it. Still some of those episode's looked very good and some looked very not so good. Sad to know that 2lent was trying to go on the cheap. Did they every seriously consider not putting the effort into Dr. Who or did they fear a back lash if they did stop the restoration efforts ?
I can just imagine how much better that set would have looked had the Restoration Team been properly involved.
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RWels
Member
Posts: 2,862
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Post by RWels on Sept 25, 2017 9:44:02 GMT
I believe at the time 2lent was trying to branch out and use other sources for restoration. It back fired obviously and if I remember correctly I think a maximum of 4 episodes were sent back to be done again as the quality was poor. Paul V could probably confirm or deny that Hah! Well in fact they wanted to branch out into no restoration. Obviously that was cheaper. Some material was so poor that it needed some intervention, mostly due to the poor quality of the available transfers. They went back to the film for those I believe. There were only two projects that involved actual restoration as opposed to basic remastering that we did not do using the team. Spearhead was supervised by Steve, but because it was an HD deliverable, it was done by studios and post. The other was Pride and Prejudice. Again, HD, but Worldwide wanted to remaster the film from the negative. The trouble with doing that with super 16mm neg is that the negative is actually on two rolls of neg, an A roll and a B roll. Each alternative shot is on a separate roll, with black spacer between shots. To make a TX print, the rolls are run together on an optical printer and a perfect print made. You may wonder why the negative is on two rolls. That's because the frame line between frames on 16mm is so narrow, that if you cut each shot together consecutively on one roll, you would see the physical splice at the top of the frame. Every cut would be dirty. Back then transferring A & B rolls would produce a bounce on each cut, so each shot had to be stabilised, something that Worldwide didn't want to do. So they did something even more bonkers. They took the original A&B negs to an outside company who had a new system for putting A&B neg onto a single roll. First, each cement join had to be carefully disassembled. This is hard. Then a new cut is done across the frame line at a slight angle. Finally, the new cut is joined to a similar cut on the next shot on the other roll using a newly developed high performance glue. The result is an extremely expensively produced single roll neg. It's the only time this was ever done on a BBC production. The Blu-Ray didn't sell that well because everyone had their DVD copies still and it was very time consuming and expensive. There is also the obvious issue of chopping up the archive master, and the errors that could creep in. And of course, with modern scanning techniques, the problem of bouncing joins goes away. Regards, Paul I have a basic understanding of film, having been a projectionist, but I am mostly lost when I read this. I guess the Super16 that they used (right?) had it's own system incomparable with the standard 16mm. It did always strike me as strange that P&P would need restoration, because 1995 doesn't seem THAT long ago.
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Post by Paul Vanezis on Sept 25, 2017 11:46:09 GMT
I have a basic understanding of film, having been a projectionist, but I am mostly lost when I read this. I guess the Super16 that they used (right?) had it's own system incomparable with the standard 16mm. It did always strike me as strange that P&P would need restoration, because 1995 doesn't seem THAT long ago. Film is film. An A&B roll negative from 1970 (Spearhead) needs the same level of care and attention as an A&B roll negative from 1995... Super 16 sacrifices the soundtrack area to create a close to widescreen (it's actually 15:9) picture area which is cropped to 16:9 when transferred. It needs additional attention because the side opposite to the sprockets can lift away from the gate on some telecines, causing variable focus on some transfers. The original transfers of 'An Ungentlemanly Act' suffer from this aberration. Regards, Paul
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