Quote:
Originally Posted by dtvmcdonald
That's what I was referring to.
The techniques are similar.
|
Deep fakery is way too strong a term. You can argue that tonal and color adjustments could be unauthentic. However, the use of high dynamic range mastering in itself does not tell you anything about whether the original tone curves of technicolor prints were emulated or not. It only tells you that the most accurate coding of whatever was decided was used. Presentation on a high contrast capability display makes shadow detail visible that would be reduced by reflected light in a projection environment. If you want to go backwards to get an authentic theater experience of reduced shadow contrast in high-key scenes, then you need only to use a video projector instead of a flat panel. Theater presentation practice is currently struggling with this, as it is affected by the color of the seats and walls and the clothing worn by the audience.
By the way, I want to mention other flaws like film weave, dirt, negative shrinkage and resulting misregistration, etc. which are completely legit corrections, as Technicolor strove to minimize them in the first place. The correction of registration shows detail that was present in the negatives and was muddied by the printing process on film.