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Originally Posted by buggenhagen  Does anyone know why Storaro is always involved in the remastering process and Argento is not involved? Is this the norm? I would have thought that unless they were specifically asked to be involved then the DOP's input would be less important than the director. Did Arrow have a choice in the matter or does buying the rights necessitate Storaro's approval? I read elsewhere that Storaro has creative control over home video transfers written into some of his contracts but with The Bird With The Crystal Plumage being shot in 1969 I don't imagine that such a clause would exist for this film. With Apocalypse Now being released in 2.35:1 for the first time recently was he overruled in this case (either by Coppola or the studio) or was he just ignored? |
A lot of transfers are supervised by DoPs rather than filmmakers. I'd imagine it's probably a lot easier for a DoP to oversee a transfer and advise how it should look, from scene to scene, as he/she was responsible for creating the composition in the first place. A filmmaker knows what they want, the DoP understands what needs to be done to achieve it. That's my understanding of it.