The Beatles' Yellow Submarine set to sail in 4K by 2K
Blu-ray Meanies inbound too
The Beatles' Yellow Submarine is set to return in HD, with a digitally-restored Blu-ray Disc version of the 1968 animated classic set to hit the shelves this May.
Pepperland will appear on screens like never before after specialists at Triage Motion Picture Services and Eque cleaned up the film's artwork by hand, frame by frame, without the use of any automated software retouching work.
The work was begun after scanning the original movie in at 4k x 2k resolution. The restored 4k footage will form the basis for DVD and Blu-ray releases, which will include such extras as a short 'making of' documentary; the original theatrical trailer; audio commentary by producer John Coates and art director Heinz Edelmann; interview clips; storyboard sequences; 29 pencil drawings and 30 behind the scenes photographs.
Each package will also come with various reproduced animation cells, collectable stickers and a 16-page booklet.
The Yellow Submarine remaster for Blu-ray and DVD will be released on 28 May 2012. The Blue Meanies are coming. ®
Hmm as this was hand drawn, I can't see the benefit of a blu-ray release as it'll be hard to make out any more detail surely?
I guess the Japanese want something different to show off their new super-hd system? Perhaps they're tired of showing off Thunderbirds and Stingray?
But a DVD version with cleaned up graphics will properly make me buy it when it's in the £3 Tesco shelves?
Given the quality of the hardware they had then, and given that "HD" sound is a fabrication to begin with, I doubt it matters.
Hopefully it'll be in whatever format it was in originally - mono, stereo, quadraphonic, or 80.12 Slobby Durround.
In other news, can you imagine having the job of hand-retouching that movie frame-by-frame? That's seriously gotta mess you up.
Re: Unless it also comes with
just source your own... i will be :)
You're either a troll...
...or you have no soul.
Either way it rhymes.
"And if you have a problem with the music itself, rather than a problem with what people say about it - which, it seems, is really what you dislike - at least learn about it, and get a better cross-section than a few of the poppiest examples."
You might want to try doing that yourself. Most of what you credit "The Beatles" with is actually the work of their producer, George Martin. The 1960s was the era of the producers, despite what the Baby Boomers would have believe. It was the era of Joe Meek, Phil Spector, and Brian Wilson (the latter was one of the Beach Boys, making him one of the few examples of a performer / producer.) Back then, producers were not considered part of the band—you couldn't reliably replicate Spector's "Wall of Sound" technique in a live performance, so live sets tended to use a different, simpler, arrangement—so you don't get to give the credit for Martin's (and others') technical feats to the groups they were used on.
The BBC's Radiophonic Workshop was producing multi-tracked sound effects—and even complete musical pieces—in the late 1950s. Today, they're mostly associated with their work on "Doctor Who", but before that, they were used heavily by Spike Milligan. (One of their most famous 'works' is "Bloodnok's Stomach", which is a multi-layered, multi-tracked sound effect created for The Goons in 1956. This easily predates The Beatles. Also, note that George Martin worked for the BBC's Music Lbrary prior to moving to EMI, so he would have been very familiar with the Radiophonic Workshop's Musique Concrète approach.)
So, no. The Beatles had sod all to do with any of that recording technology. They just happened to have a good producer who knew about it. Read about how Delia Derbyshire and Dick Mills produced the original Doctor Who theme, using multiple manually synchronised magnetic tape machines, with tapes stretching down a corridor to get the loops the right length. That is what producers and musicians were already doing by 1963, when The Beatles were still singing trite pap like "She loves you, yeah, yeah, yeah!"
The Beatles' main contribution was the Lennon-McCartney songwriting duo, who wrote a few gems, but also cranked out an awful lot of shallow, utterly forgettable crud. They were good, but they weren't that good.
The problem with The Beatles (and many other bands of the era) is the Baby Boomers. This generation, like every other before or since, genuinely believes that only the music recorded for their generation truly "matters". Every other generation believes that "their" music is also the best, but the Baby Boomer generation easily outnumbers the others, (although, mercifully, that won't be the case for much longer). The Baby Boomer generation's influence has become seriously unhealthy: everything has to stand up to their standards, to the music of their childhood and adolescence. As a result, the music industry has become obsessed with re-releases, recycling and band reunions and the like.
The Beatles' main claim to fame is as the first group to be so self-contained: they wrote all their own songs, performed them, recorded them, and played them live. This was not common practice at the time: most groups were much more open to playing songs written by other songwriters, and to hiring session musicians. It wasn't unusual for the same song to be covered by multiple performers and released at the same time, often in very different styles. (Just ask Neil Diamond.)
Even so, The Beatles hired in musicians for their later psychedelic albums as they couldn't play all the parts themselves, so they weren't an exception to that particular rule either.
However, the result of The Beatles' in-house approach is that songs on the same album would generally sound very similar stylistically—there'd be some of Lennon's more abstract pieces, and some of McCartney's more realistic works. And that'd be about it. They might demand that George Martin recreate a sound or effect that they'd heard on another album—the Beach Boys' "Pet Sounds" was a major influence on their later work—but it would be George Martin and his fellow engineers who made that happen.
Give credit where it's due: to the engineers and producers. The unsung heroes of the 1960s music industry.