Jacques Rivette

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Michael Kerpan
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Joined: Wed Nov 03, 2004 1:20 pm
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Re: Jacques Rivette

#1626 Post by Michael Kerpan » Thu Feb 01, 2024 12:14 pm

All I can say is that we are all built differently -- cinemaphilically-speaking. I really do think that encountering a different sort of movie requires the ability to tune into the proper wave length (or rhyrhm or something). If one can't synchronize with it, the movie is just not going to work. One CAN (at least sometimes) train yourself to re-adjust and learn to sync with something initially "impossible". In any event, I never DISliked C&J, it is just that it took 3 tries before I LOVED it. ;-)

Stefan
Joined: Wed Apr 09, 2008 1:33 am

Re: Jacques Rivette

#1627 Post by Stefan » Sat Feb 10, 2024 7:05 am

Great news: Radiance Films in England will bring out L'amour fou on Bluray in April:
https://www.radiancefilms.co.uk/products/lamour-fou-le
So will Potemkine in France:
https://store.potemkine.fr/dvd/35450200 ... s-rivette/
The first variant will have English subtitles. Still, it's time to revamp our knowing of Racine ...

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spectre
Joined: Thu Dec 29, 2011 4:52 am

Re: Jacques Rivette

#1628 Post by spectre » Mon Feb 26, 2024 6:28 pm

Listing is up for Va Savoir+ on Potemkine (for 2 April release):

https://store.potemkine.fr/dvd/35450200 ... s-rivette/?

Also contains the theatrical cut and various special features. No indication of English subtitles, but I’ll make enquiries and report back!

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spectre
Joined: Thu Dec 29, 2011 4:52 am

Re: Jacques Rivette

#1629 Post by spectre » Tue Feb 27, 2024 8:48 am

Can confirm that there are no English subtitles, unfortunately.

nicolas
Joined: Sat Apr 29, 2023 11:34 am

Re: Jacques Rivette

#1630 Post by nicolas » Sat Apr 13, 2024 11:12 am

I received the Va Savoir / Va Savoir+ 4K-restored set.

Encoding is solid even though it's not a notable effort by Potemkine. Their effort was minimal for both cuts (as you can see in the MediaInfo screenshot below) but the result is better than expected considering the length of Va Savoir+. The shorter cut looks slightly better and more consistently throughout.
Va Savoir+ was restored in the fall of 2021 at Hiventy, Va Savoir in 2022 both under the supervision of Irina Lubtchansky.

Brief screenshot comparison of the two cuts (sorry, I don't have time for more): https://slow.pics/c/M0JAa5yL
Some individual caps in here:
SpoilerShow
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tenia
Ask Me About My Bassoon
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Re: Jacques Rivette

#1631 Post by tenia » Sat Apr 13, 2024 1:19 pm

What do you mean by minimal effort ? The authoring strategy looked good to me in terms of content split and movie priorisation.
I'm less fond of what has been done on L'amour fou, whose encode reminds me of the Lars von Trier, despite ample bitrates.

nicolas
Joined: Sat Apr 29, 2023 11:34 am

Re: Jacques Rivette

#1632 Post by nicolas » Sat Apr 13, 2024 7:34 pm

tenia wrote:
Sat Apr 13, 2024 1:19 pm
What do you mean by minimal effort ? The authoring strategy looked good to me in terms of content split and movie priorisation.
I'm less fond of what has been done on L'amour fou, whose encode reminds me of the Lars von Trier, despite ample bitrates.
It seems to me that they just set their bitrate targets to 25 / 30 / 35 Mbps and said “done”. Audio-wise they slashed the 24-bit 5.1 track from the shorter version to 16-bit on Va savoir+ probably just to save space. This being a fully dialogue-driven project it won’t make a difference and I’m not complaining as both cuts look much, much better than anticipated, but still, when looking at the MediaInfo stats, I can’t help noticing that they let their software do all the hard work. :)

Also, I was positively surprised when it comes to the grading. It’s still quite warm but not a piss-bathed tint.

dave1
Joined: Tue Oct 20, 2020 9:16 am

Re: Jacques Rivette

#1633 Post by dave1 » Sun Apr 14, 2024 6:00 am

FWIW, the color grading doesn't look like any 35mm prints I've seen (the last time, as recently as last year). I've come to believe that a restoration "supervised by" doesn't really mean anything. La bande des quatre was supervised by Champetier and now has a b&w shot that was in color before.
As for Va savoir, the scene where Balibar goes to see Bonaffé at the park is probably the worst offender, and the scene where Balibar finds Basler passed out is noticeably darker than in the 4K restoration.

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tenia
Ask Me About My Bassoon
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Re: Jacques Rivette

#1634 Post by tenia » Tue Apr 16, 2024 11:05 am

nicolas wrote:
Sat Apr 13, 2024 7:34 pm
tenia wrote:
Sat Apr 13, 2024 1:19 pm
What do you mean by minimal effort ? The authoring strategy looked good to me in terms of content split and movie priorisation.
I'm less fond of what has been done on L'amour fou, whose encode reminds me of the Lars von Trier, despite ample bitrates.
It seems to me that they just set their bitrate targets to 25 / 30 / 35 Mbps and said “done”. Audio-wise they slashed the 24-bit 5.1 track from the shorter version to 16-bit on Va savoir+ probably just to save space. This being a fully dialogue-driven project it won’t make a difference and I’m not complaining as both cuts look much, much better than anticipated, but still, when looking at the MediaInfo stats, I can’t help noticing that they let their software do all the hard work. :)
They probably could have used a bit more bitrate on Va savoir +, but the disc is 46,869,550,700 bytes and the movie 46,272,122,880 bytes of it, so the disc is roughly 94% used and the movie uses pretty much all of that. Switching from 24-bit to 16-bit makes sense to me in the context of a 224 min 1.85 5.1 movie, so I'd say it's actually a good move in order to save some Mbps for the video. A quick calculation tells me keeping the sound at 24-bit would have made the 224 min movie ending up past the BD-50 capacity, and pushing the disc usage to its max would have "only" brought 2 extras Mbps.

With the shorter cut looking prioritized enough over the extras, though it could have been pushed a tad higher and get the movie's AVB up to 33 Mbps instead of 30, this all looks prioritized enough to me, hence my remark.

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hearthesilence
Joined: Fri Mar 04, 2005 4:22 am
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Re: Jacques Rivette

#1635 Post by hearthesilence » Mon May 20, 2024 11:48 pm

bad future wrote:
Sat Mar 18, 2023 6:04 pm
Since my earlier post on Duelle was a lot of words and no illustration, here is a link to my tweet with some pics; other examples in the thread I'm replying to. Unsure about the conclusions I drew though; curious what people here make of the discrepancy, if anything.
Ugh. FWIW, just to confirm, I caught a DCP screening at MoMA's Bulle Ogier tribute - "Digital restoration courtesy of Arrow Films and the American Genre Film Archive" - and not surprisingly the blue tint was not present in those sequences either, they were definitely just black & white. I hope someone's got 35mm prints of this film.

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Captain Paranoia
Joined: Wed Dec 27, 2023 8:33 pm

Re: Jacques Rivette

#1636 Post by Captain Paranoia » Tue May 21, 2024 1:20 am

nicolas wrote:
Sat Apr 13, 2024 11:12 am

Image
What software is that? It doesn't look like MediaInfo though it probably is.

nicolas
Joined: Sat Apr 29, 2023 11:34 am

Re: Jacques Rivette

#1637 Post by nicolas » Tue May 21, 2024 4:16 am

Captain Paranoia wrote:
Tue May 21, 2024 1:20 am
nicolas wrote:
Sat Apr 13, 2024 11:12 am

Image
What software is that? It doesn't look like MediaInfo though it probably is.
It is MediaInfo (also says so in the upper bar) used with dark mode on Mac.

dave1
Joined: Tue Oct 20, 2020 9:16 am

Re: Jacques Rivette

#1638 Post by dave1 » Tue May 21, 2024 9:52 am

hearthesilence wrote:
Mon May 20, 2024 11:48 pm
bad future wrote:
Sat Mar 18, 2023 6:04 pm
Since my earlier post on Duelle was a lot of words and no illustration, here is a link to my tweet with some pics; other examples in the thread I'm replying to. Unsure about the conclusions I drew though; curious what people here make of the discrepancy, if anything.
Ugh. FWIW, just to confirm, I caught a DCP screening at MoMA's Bulle Ogier tribute - "Digital restoration courtesy of Arrow Films and the American Genre Film Archive" - and not surprisingly the blue tint was not present in those sequences either, they were definitely just black & white. I hope someone's got 35mm prints of this film.
According to a Spanish book on Rivette I have, it's not a tint but rather that sequence was shot with a blue filter, which would explain why it's a weird-looking b&w in the 2K.

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hearthesilence
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Re: Jacques Rivette

#1639 Post by hearthesilence » Tue May 21, 2024 12:04 pm

dave1 wrote:
Tue May 21, 2024 9:52 am
hearthesilence wrote:
Mon May 20, 2024 11:48 pm
bad future wrote:
Sat Mar 18, 2023 6:04 pm
Since my earlier post on Duelle was a lot of words and no illustration, here is a link to my tweet with some pics; other examples in the thread I'm replying to. Unsure about the conclusions I drew though; curious what people here make of the discrepancy, if anything.
Ugh. FWIW, just to confirm, I caught a DCP screening at MoMA's Bulle Ogier tribute - "Digital restoration courtesy of Arrow Films and the American Genre Film Archive" - and not surprisingly the blue tint was not present in those sequences either, they were definitely just black & white. I hope someone's got 35mm prints of this film.
According to a Spanish book on Rivette I have, it's not a tint but rather that sequence was shot with a blue filter, which would explain why it's a weird-looking b&w in the 2K.
That makes it more baffling - if the color is baked into the negative itself, why did they remove it in the grading? Frustrating and annoying, it's otherwise a great looking restoration but it's like getting your car back all polished and clean only to find out they kicked a dent into it.

dave1
Joined: Tue Oct 20, 2020 9:16 am

Re: Jacques Rivette

#1640 Post by dave1 » Tue May 21, 2024 2:36 pm

In 35mm the opening credits are also blue, but they've been redone by Technicolor for the 2K (they're gold on black now).

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