Overall, not bad. However, check out that aliasing and sharpening on the titles!
Some of the matte shots looked de-grained, but they were few.
Thoroughly Modern Millie (1967) was processed by Universal.
Taking a guess, it was de-grained, restored to death, then re-grained. It looks smeary and unnatural.
And check out those ugly grid lines!
Interpolation still shows under the layer of false grain.
Now, compare to Autour de la Fin du Monde (1930). There’s a clarity that comes through the softness when the picture is left alone:
Too bad it’s out of sync:
La fin du monde (1931) was processed by Gaumont, Eclair, and FPA France. This version is also available from Kino.
The Murnau Foundation put a ton of work into piecing the film back together. Then they had to go and blow two years of work by “restoring” it.
Carmen was reconstructed from multiple prints. Many, many gaps were filled in from lesser sources, often no more than a few frames. However, the technicians were a little sloppy, repeating frames they already had, resulting in added stutter, microloops, and reduced picture quality.
In this sample, the technicians appended three frames to the end of the shot. Two of the frames were already present, resulting in a microloop:
For part 1, click here.
Disc 2 is a lot better, but not without errors.
Kino’s set is a mixed bag. Some movies look great. Others are restored to death. I’ll be focusing on the latter. I give lots of examples, but this post is by no means comprehensive.
Editing error:
Frozen, splotchy, misaligned cloning. Terrible in every way:
Some shots are untouched, but frozen cloning is pervasive:
Intertitles look super fake, but this one has an erroneous line peeking through:
Processed by Library of Congress and Dayton Digital Filmworks.
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