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Techno weenies take note!
Tron is being remastered for DVD (FINALLY!!!) wiht a 5.1 soundtrack and Anamorphic video!
Anyone else excited about this, or did I just wet myself for nothing?!
Dman
Follow Ups:
I watched it a week ago.Good fun like it was when new.
I liked that movie and Carlos's soundtrack, though I'm generally not impressed with gee-whiz CGI effects (especially the ray-trace stuff they're doing in cartoons like Reboot... AAAGGGH!). Fantastic Planet was a good one.... anyone know if the DVD of it is any good?
I find it interesting that Stereophile's Analog boy, Michael Fremer did the music supervision and sound design!
Analog boy with digital synth maven!!!! Neat combination!
I love Wendy Carlos' work- not jsut the music she's created, but the personhours she's put into digital synth technology and her 'LSI' orchestra replica sounds. VERY interesting.
One wonders if Disney will re-release the music soundtrack for it as well- but then again, maybe not. Fremer doesn't need another boost to his already big ego!
JUST KIDDING MIKEY, IF YOU ARE READING THIS! (But seriously, where's my record?)
Dman
Someone forwarded the posts about my sound supervision job on TRON so let me just provide some details: the music was recorded ANALOG multitrack by a BBCremote crew at The Royal Albert Hall, using 100+ piece orchestra (The London Philharmonic) plus the organ, and small string sessions were done at famed Walthamstow Town Hall. Later choral overdubs were done at Royce Hall in L.A. Wendy was supposed to create the soundtrack on her ANALOG synthesizers with orchestral overdubs but the film kept being recut and recut and there was no way there would be time for her to proceed as planned, so we reversed the process. We also were the first film to mix directly from multitrack mixes to the final soundtrack mix using SMPTE time code, instead of dubbing down to 35MM mag stock and losing a generation. LOTs of other innovations were included as well. The soundtrack was nominated for an Academy Award for best soundtrack, losing to E.T. in 1982.A new 70MM print was struck last year for a week's run at the El Capitan Theater in L.A. followed one evening by a panel discussion. Neither Wendy nor myself, nor Frank Serafine who created many of the sounds, nor Mike Minkler, who was the head mixer, were invited to talk about the sound track, or the sound innovations used on the film.
WHY? Sound is the IDIOT BASTARD SON of picture in Hollywood, plus there was a great deal of acrimony involved between myself and the producer Donald Kushner and the Director Steven Lisberger.
I was blamed for the huge cost overrruns on the soundtrack which I predicted DAY ONE when I was handed a ludicrously small budget lifted I think from "Herbie Goes Bananas." The producer told me to work with what I was given and I had to try to "innovate," in order to get anything remotely resembling an adequate soundtrack for such an ambitious film. Using traditional "cut and assemble" sound effects production, the budget would have been busted before the end of the first reel!
My recollection was that I was given a $60,000 budget! And $5000 for "looping" the dialog in a film where ALL of it had to be redone since the characters wore styrofoam outfits that squeaked every time they moved. It was ludicrous!
I told the producer it would cost much less in the long run if they'd give me a reasonable budget, but he just smirked at me and said "Hey, you're the sound supervisor, you have to make it work within the budget." I'll NEVER forget that encounter.
Nor will I forget mixing on a very expensive dubbing stage to a picture which contained huge chunks of blank flim stock because computer footage or processed live action footage simply hadn't been completed, or we'd get plain black and white footage, mix to it, and then receive the final colorized footage with all kinds of visual effects added that we didn't know about and had to create sounds for on the fly! It was a real challenge.
There's a TRON website run by a fan of the movie and I've promised to tell the whole sordid story there when I have some time.
BTW: I see no irony in having supervised that soundtrack and being an analog devotee. As for "Pam" 's post, about not reading the 'rags', I say: IGNORANCE IS BLISS!
Love ya!
Mikey
Senior contributing editor , Stereophile
Contributing editor, Stereophile Guide to Home Theater
Mikey, the ran me out of Hollywood in 1972, due to cost overruns on the sound production of the film 'Fillmore'. I share your angst.
I recently saw a CD titled, "Fillmore: The Final Days." Could this be the soundtrack recording of the film?
Yes, I suspect that it is. I have the vinyl 'Fillmore The Last Days'. They took our masters and made the recording. We didn't do Malo or Santana on the recording, or the film (in the case of Santana) because Wally Heider (sp?) made a parallel recording for them, with added condenser mikes, and their recording had better transient response. Malo had to be re-recorded, because they were not scheduled to be on the film, and we were still setting up, so they had to be recorded in the studio, later
I do too... those weird micro-tunings on Beauty in the Beast and the computer generated fake-latin mass on Clockwork Black are great. Who is Mike? Someone from Stereophile? (I don't waste my money on rags... Reminds me too much of that series of Calvin and Hobbes cartoons about "Chew" magazine turning Calvin into a neurotic bubblegum-ophile. Besides, there's too much other good stuff to buy ^-^)
Michael Fremer is a regular contributor to Stereophile. He is a a RABID fan of analog sources, turntables- ALL sorts of analog gear. He contributes a monthly column called (what else?)- ANALOG CORNER.
I thought it was a funny irony that he had to work with Wendy on a movie about computers and digital!
Cheers!
Dman
PS. I hear that the best issues of 'Chew' are always kept within 'good taste'... hehehe
D.
I like TRON and am glad it's getting a better treatment. It is sort of a simple story and simple (by todays animation standard) animation, but for it's time was a great creation. I do own it already on DVD but will go for the Anamorphic DVd when it arrives. I bought a few non-anamorphic and non-enhanced for 16:9 when I first got the DVD player... But now I will ONLY buy anamorphic or enhanced for 16:9 PERIOD! (unless the original was fullframe 35mm print like "Aguirre, Wrath of God" or a 'made for TV 1:33 ratio film like "Tenth Kingdom") The image on the Anamorphic/enhanced for 16:9 is so much better!!!!! on a TV able to use it.
I hear you there when you say you will only buy it in the anamorphic format! I have a couple (TRON included, as well as a couple 'made for TV movies in 1:33 to 1) and the picture, even on a non anamorphic screen is JUST above OK. Isn't it amazing now, that after the DVD format has practically taken over, with MUCH better picture quality than VHS, that we complain about non anamorphic DVD?!
BTW, I use the 'squeeze technique' for getting anamorphic resolution from my toshiba 32" set. I'm sure this is not good for the picture tube overall, but I plan on a HD set within the next few years anyway!
Cheers,
Dman
PS- Check out the link, even if you don't own a Toshiba set. There is a LOT of good info here on set up in general!
D.
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