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TMP-DE fully restored in 4K…it’s about time!

It's a pity that Kubrick ordered all of the 2001 sets destroyed after filming ended. :(

I mean, I understand why he did it (he didn't want the sets turning up in other films later on) but I'd have freaking LOVED to see what 2010 - which I also enjoyed and consider a worthy sequel - could have done with things like the centrifuge...

Fun fact: The centrifuge was real. It was actually built all the way around. And it rotated just like the "real thing" would have. Although I bet there were a lot of viewers who thought it was faked. :lol:
 
Campe said:
2001 was certainly revolutionary in the way of motion capture. The remaining titles, while having aspects that were revolutionary, were far more evolutionary. It does not change the fact that all of them are beautiful in their own right.
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I don't believe that is entirely accurate, unless you count SW (not Trumbull) as a vital intermediate (and revolutionary) step. I don't think you could attempt something to the scale of CE3K or Blade Runner using the pre-motion control techniques of 2001. Silent Running was another of his, and perhaps better illustrates his limitations at the time. Visually brilliant but lacking much of the majesty of 2001 (or his later films).

SW completely aside, Trumbull's 2001 stargate likewise appears very limited next to the various corridors of light he morphed it into in TMP.
 
Bad Robot said:
I don't believe that is entirely accurate, unless you count SW (not Trumbull) as a vital intermediate (and revolutionary) step. I don't think you could attempt something to the scale of CE3K or Blade Runner using the pre-motion control techniques of 2001. Silent Running was another of his, and perhaps better illustrates his limitations at the time. Visually brilliant but lacking much of the majesty of 2001 (or his later films).

SW completely aside, Trumbull's 2001 stargate likewise appears very limited next to the various corridors of light he morphed it into in TMP.
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I think you’re completely misunderstanding what I’m saying. I believe we actually are in complete agreement. What I’m saying is that without Trumbull’s REVOLUTIONARY work on 2001, we would not see the EVOLUTION of the field in the other titles.
 
Campe said:
I think you’re completely misunderstanding what I’m saying. I believe we actually are in complete agreement. What I’m saying is that without Trumbull’s REVOLUTIONARY work on 2001, we would not see the EVOLUTION of the field in the other titles.
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The depends on what you meant by "motion capture." Bad Robot (and I) seemed to think it was a typo for "motion control," where a camera could be moved automatically and repeatedly, allowing the same sequence to be filmed multiple times, to capture different lighting passes, as well as to isolate the subject from the background. 2001 didn't use any kind of motion control. IIRC, the mattes were hand-painted so the stars wouldn't shine through the ships when they were composited in with the optical printer.
 
Campe said:
I think you’re completely misunderstanding what I’m saying. I believe we actually are in complete agreement. What I’m saying is that without Trumbull’s REVOLUTIONARY work on 2001, we would not see the EVOLUTION of the field in the other titles.
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I didn't "completely" misunderstand anything. SW (again, not Trumbull) was no less revolutionary. I also don't believe it's fair to categorically dismiss Trumbull's later efforts as (largely) evolutionary. I'd love to hear Trumbull compare his films. Would he say that 2001 prepared him for almost everything he did after, technologically/creatively/inventively?

David cgc said:
The depends on what you meant by "motion capture." Bad Robot (and I) seemed to think it was a typo for "motion control," where a camera could be moved automatically and repeatedly, allowing the same sequence to be filmed multiple times, to capture different lighting passes, as well as to isolate the subject from the background.
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He did. In fact he'd fixed it by the time I finished posting.
 
Tosk said:
I just wish they hadn't used CRT monitors.
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What else could they have used? This was the 80's, remember.

Doing it like 2001 did - having the screens be rear-projected film animations - was obviously never going to be a thing. Those were noisy and hot. So CRTs were pretty much the only option.

But I agree that Peter Hyams did a fantastic job on the film. (He even asked Stanley Kubrick for his blessing, and got it) Hyams was the director of photography, screenwriter, producer, AND director!
 
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Mr. Laser Beam said:
What else could they have used? This was the 80's, remember.

Doing it like 2001 did - having the screens be rear-projected film animations - was obviously never going to be a thing.
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I don't begrudge them using them entirely, but having them on Discovery as though they were always like that creates a slight visual disconnect. In fact, having the correct screen style on Discovery and CRTs on Leonov could have made for a nice visual dissimilarity.

It's not a big deal, just an "I wish".
 
Good news for soundtrack collectors!

La-La Land just announced a new soundtrack release of TMP's score to tie-in with the Director's Edition release later this year. Details so far...
  • While using the same mixes as the last release, some changes were made that Mike Matessino described as "esoteric in character". He did note however that there is one distinction about the new edition that will be noted when it becomes available.
  • Since this album is being released as a direct tie-in to the Director's Edition, one of the changes being made is having the full version of Ilia's theme open the film score presentation instead of the trimmed down version that opened the previous release.
  • The third disc from the previous set is being dropped in favor of this release being geared towards the finished score. The original album program will be featured and will be "re-created from the remixed first-generation master".
  • Other material outside of the film presentation and the original album will be the early score cues.
  • The 'Inner Workings' track on this set will feature the more pronounced 'wind machine' noise that was significantly toned down in their original release. The 50th Anniversary Collection was the only time this track featured the wind machine at levels matching what was heard in the film.
So if you already have the 3-Disc set, you've got a tough choice to make. While this set does stem from the same mix that were used for the 3-Disc set, further work was done to make the listening experience a bit better and will likely include the film version of 'Inner Workings' that is not on the previous set.
 
Great news! I have the old 2-disc set that must have come out around the time of the Directors Cut DVD, so this will be a must-buy.

Is there a source for this?
 
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Tomalak said:
Great news! I have the old 2-disc set that must have come out around the time of the Directors Cut DVD, so this will be a must-buy.
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Funny story about that...

Tomalak said:
Is there a source for this?
Click to expand...

Right here. If you have the time, do check out the whole thread as some people who have worked on TMP all the way back in the 1900s share a lot of neat stories surrounding the history of TMP's score release (Especially your two-disc set) and how it all came to this release. Specifically posts by Mike Matessino and La La Land Records.
 
Thanks, that's a great thread. Interesting to read what happened with the 1999 version (the one I have).
 
Just got the new soundtrack yesterday and immediately went through the booklet. Unfortunately, we only got two new images and they're very small in the booklet. However, there was definitely enough information to make out some differences. (From my filmscoremonthly.com post)

The Establishing Shot of San Francisco
This shot has some noticeable differences right off the bat. There are now boats leaving visible wakes on the water's surface and the future-looking Golden Gate Bridge additions are now visible. In the original, you can see that the Golden Gate bridge looks unaltered, but in the booklet, there is now a very clear white line going across it. All of the buildings have been redone as well.

V'Ger approaching Earth
A huge difference in this shot is that the V'Ger vessel now has more lighting. The large orb portion and the front part are now illuminated with a warm bright light instead along with the blue glow that was previously present. There's also some sun reflection added as well, as evidenced by the light that's being reflected on one of the six outstretched pillars.
 
^
Thanks for that! Not that I wasn't already psyched for this, but I'm really intrigued by the description of the San Francisco changes.

Now, we just need a release date of when it's going to drop on Paramount Plus.
 
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