So how were'dubbed' versions done, exactly?

[Matthew Hunter]

I may have asked this a long long time ago, but if I did, I've forgotten. Does anyone know how "dubbed versions" were created? Were they the original video masters from Turner's library, or were the current worn-out prints digitally enhanced? I notice several of them (like "Hiss and Make Up" and "What Makes Daffy Duck") have a lot of blue in them where it doesn't belong...why is that?
-Matthew

[Jon Cooke]

Jerry Beck said this in this thread (http://forums.toonzone.net/showthread.php?threadid=6254) from a few months ago:


Those Turner "dubbed" versions are just fresh transfers off the 35mm Tech prints. Many of those Tech prints still have the AAP logo attached (you notice the AAP logo is Eastman print and is fading red)



-Jon

[TServo2049]

Here's my theory (Note: although this is written as if it is fact, it ISN'T; it's merely speculation, but I chose to write it as if it was fact):

On most of them, I believe that they went back to the same worn-out Technicolor theatrical-projection prints used for the "undubbed" transfers, created new videotape masters of them, and then used a digital "color-enhancement" process on the transfers (I think this was probably just a process where the color saturation level was increased to SIMULATE brighter colors, since they didn't have the time (even though they had the money) to restore all the cartoons). HOWEVER, ones with color deterioration were ruined by this process (including the 2 cartoons you mentioned).

[Dave Mackey]

Of course, the correct way to restore these cartoons - and for some reason Turner/Time Warner wasn't willing to do this - was to go into WB's vaults, fetch the successive exposure negatives that still exist on fine grain b/w film (nitrate?), and make new imbibed Technicolor prints from them.

Based on some test frames I've seen around, you will be blown away by what you've been missing all these years.

[Patrick McCart]

I've been able to compare several AAP versions with dubbed versions...here's what seems to be the "enhancment"

- New D-1 (widely used digital video format) transfers off 16mm Technicolor prints (never fades...but the safety film which has the no-fade Tech image can turn brown-yellow which can give a darker cast to the image)
- Cleaned up sound...
- Color enhancment (usually, just tinting the image one color)
- digital video noise reduction

All of the cartoons are THEATRICAL prints. Basically, WB gave AAP any 16mm prints of the cartoons they happened to have around. Some cartoons, however, have not been reissued yet, so they made a DUPLICATE from the master....in Eastmancolor.

AAP never got any nitrate film, though. 16mm since the 1930's was always safety film. While features were projected in 35mm, the cartoons were given to theaters in 16mm to allow more space. Nitrate film could only be stored with roughly 10 minutes per reel (unlike the 25min of modern film reels) because of the dangerous nitrate flammability.

If WB made NEW prints off the 3-strip negs in Technicolor (the process is still around), the image would look better than it did in the theaters!

[Randy Watts]

<< All of the cartoons are THEATRICAL prints. Basically, WB gave AAP any 16mm prints of the cartoons they happened to have around. <snip> While features were projected in 35mm, the cartoons were given to theaters in 16mm to allow more space. >>

According to the notes accompanying the initial GOLDEN AGE OF LOONEY TUNES laserdisc set, 35mm prints were used as source material for transfers, not 16mm.

An elderly gentleman I know, a longtime theater projectionist, told me that while some small theaters may have used 16mm, every cartoon print he remembers dealing with back then was 35mm, as were the other short subjects.

Randy