It is rather annoying, isn't it? The effects team who did SUPERMAN came up with a number of ingenious ways create the illusion of flight. Personally, the process photography in the film looks more realistic to me than any computer generated character.
I don't hate CG so much. When it works, it can be a very nice advantage to a filmmaker. Unfortunately, filmmakers now have a tendency to rely a little too heavily on digital effects rather than old fashioned filmmaking.
On the other hand, I used to love the field of analog special effects. They were always interesting stories. Picking up a copy of Cinefex today is crushingly dull, as all they talk about now is the software they developed or used. I don't want to hear about that crap, I want to hear, "Pffft. The shark is not working. The shark is not working. Pffft."
Not one microchip was used in producing the effects for the film
Well, that's not exactly true. The motion control cameras did use rudimentary computers.
I just did a Superman and Superman II double feature, on my new gigunda TV and really, really loud. It is interesting how well the filmmakers reimagined something so iconic.
I'm really looking forward to Donner's cut of Superman II.
Yes, you're absolutely right :) Motion control slipped my mind, and what a wonderful system it is, too.
The Dolby mix for the first film is terrific, and so is the isolated music score. I'm sure you listened to the alternate version of the main title theme, which features different instrumentation on the CAN YOU READ MY MIND interlude and elsewhere. I rather enjoy that version. The DVD seems to be stronger in sonic clarity than the cut that made the RHINO release a few years back.
I too am looking forward to the DONNER CUT! I wonder how they'll handle Ken Thorne's interpretation of Williams' themes, or if they'll recycle bits and pieces from the original film (basically what Thorne did).
I agree about the sound mix for the first film. There were some purists complaining when the disc initially came out, but I never had a problem with it. In fact, I think that it really improves the title sequence... yeah, it runs a really long time, but the music is so invigorating, and it sounds so good.
The isolated score track for both this disc and North by Northwest benefited from restoration technology that didn't exist when the Rhino editions came out. Unfortunately, the isolated score tracks are, by nature, in Dolby, so they won't have the fullness that the original recordings had. Maybe someday we'll see another release of these two scores in a new format that won't have these bandwidth issues, but until then, we have the CDs and DVDs, which sound okay.
They'll probably have to recycle the music from both films, though I hope that they don't utilize too much of Thorne's work from the second film. I felt that it wasn't a very good approach to just rearrange existing cues for a smaller orchestra. For one thing, Superman
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Right on....you have a habbit of taking the words right out of my mouth. I was fortunate enough to see a theatrical version of the revised SUPERMAN: THE MOVIE back in 2001. A local radio host here in Detroit smuggled a print in from Texas and hosted a screening at a local theatre; lots of fun, free pop and popcorn and a chance to see it on the big screen. I remember being impressed by the sound of the main title, and when i bought the dvd, i recall rewinding that sequence just to hear the credits zoom in, around, and behind me! Williams' music really does carry that sequence, and makes me sad to know that not many audience members today would have the patience to sit through it all without fastforwarding
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On the other hand, I used to love the field of analog special effects. They were always interesting stories. Picking up a copy of Cinefex today is crushingly dull, as all they talk about now is the software they developed or used. I don't want to hear about that crap, I want to hear, "Pffft. The shark is not working. The shark is not working. Pffft."
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Well, that's not exactly true. The motion control cameras did use rudimentary computers.
I just did a Superman and Superman II double feature, on my new gigunda TV and really, really loud. It is interesting how well the filmmakers reimagined something so iconic.
I'm really looking forward to Donner's cut of Superman II.
Reply
The Dolby mix for the first film is terrific, and so is the isolated music score. I'm sure you listened to the alternate version of the main title theme, which features different instrumentation on the CAN YOU READ MY MIND interlude and elsewhere. I rather enjoy that version. The DVD seems to be stronger in sonic clarity than the cut that made the RHINO release a few years back.
I too am looking forward to the DONNER CUT! I wonder how they'll handle Ken Thorne's interpretation of Williams' themes, or if they'll recycle bits and pieces from the original film (basically what Thorne did).
Thanks for reading!
Reply
The isolated score track for both this disc and North by Northwest benefited from restoration technology that didn't exist when the Rhino editions came out. Unfortunately, the isolated score tracks are, by nature, in Dolby, so they won't have the fullness that the original recordings had. Maybe someday we'll see another release of these two scores in a new format that won't have these bandwidth issues, but until then, we have the CDs and DVDs, which sound okay.
They'll probably have to recycle the music from both films, though I hope that they don't utilize too much of Thorne's work from the second film. I felt that it wasn't a very good approach to just rearrange existing cues for a smaller orchestra. For one thing, Superman ( ... )
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