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BUENA VISTA & ANAMORPHIC: THE GOOD, THE BAD & THE UNENHANCED by Peter M. Bracke As the technological aspects of the DVD format continues to mature and the consumer base grows, more and more content suppliers are beginning to experiment or fully embrace anamorphic transfers and High-Definitions masters. But in spite of consumer and industry pressure as well as internal strife and recrimination, Buena Vista steadfastly continues to be the lone major holdout of anamorphic transfers. So, consumer and industry pundits alike continue to wonder, just why won't they jump in? Though certainly not thought of as a leader in technological advances or a pioneer of the home video industry, Buena Vista Home Entertainment regardless is one of the leading distributors of VHS, Laserdisc and now DVD. Controlling a vast catalog of product from corporate giant and parent company Walt Disney, Touchstone, Hollywood Pictures, their wholly-owned subsidiary Miramax Films (and genre label Dimension), as well as recent Disney acquiree ABC, Buena Vista quite simply holds one of the most well-regarded (and oft-requested) library of titles in the world. Though they scored points with the DVD community by being an early supporter of the DVD format in the fall of 1997, the studio has subsequently come under considerable fire for their haphazard title selection (the lack of classic Disney animation being the main culprit), dearth of supplemental features, uneven quality and high pricing. Though they have begun to make some strides in most of these areas in recent months to mixed success, the one feature that they steadfastly continue to dismiss is anamorphic transfers, despite the fact that all other major (and many independent) DVD suppliers have at least dabbled in the process, and that such enhanced transfers are the generally-agreed upon best viewing option for the new High-Definition Television standard. And it is indeed the issue of anamorphic transfers (also known as anamorphic) that remains the most contentious and hotly-debated amongst videophiles and DVD enthusiasts. One of the most misunderstood and confusing aspects of the the DVD spec, it is important to take a moment to explain what anamorphic is and why it is of such importance to videophiles and remains such a hot topic for Buena Vista. Stretch and Squeeze
As originally conceived, the DVD format was designed to be a "transitional" platform that would support both the current NTSC television system and the newly-minted High Definition Television standard. Though widescreen home video (i.e., the process of preserving the original theatrical aspect ratio by blacking out, "letterboxing," the top and bottom portions of an image to retain its rectangular shape in a square frame) is nothing new, with the introduction of DVD, it is now possible to use the "anamorphic" transfer process to increase resolution on 16x9 monitors yet still offer a high-quality image even on traditional 4:3 NTSC monitors (the common "square shaped" TVs most present consumers continue to use.) To accomplish this, a widescreen image is vertically "squeezed' to the 4:3 aspect ratio of the current NTSC standard (everyone looks tall and skinny). This squeezed image is then stored on a DVD, after which all DVD players (as it is part of the official DVD spec) can then output this image in two different ways. For traditional 4:3 television sets, the player "unsqueezes" the image, and then digitally places the now widescreen image in the 4:3 image area, blacking out the top and bottom portions. Thus, a form of digital letterboxing. For HDTV or 16x9 monitors (so named for its 16x9, or 1.78:1, aspect ratio), the DVD player simply outputs the "squeezed" image directly to the monitor, which then stretches the image back out to its original unsqueezed state, retaining the original recorded aspect ratio. This process of squeezing and then unsqueezing images for both video and film is called Anamorphic, or anamorphic. The natural question is, of course, why bother? What is to be gained by anamorphically enhancing a program? To put it simply, by storing an image with the full image area of the 4:3 frame, the maximum lines of resolution (480 on a DVD) is retained, whereby if you simply letterbox an image, the lines of resolution in the areas that are "blacked out" (to create the letterboxed bars) are lost forever. Thus, when viewed on HD or 16x9 monitors, anamorphic images look measurably better and more detailed, thereby insuring that such DVD discs will not only look good on today's sets, but will retain their value and look even better on tomorrow's HD standard. (It should be noted that anamorphic transfers mainly benefit widescreen material. Programs created in 4:3 aspect ratios would not gain anything with 16x9 enhancement as a 4:3 transfer would completely retain the full original image area already. If you are still confused by aspect ratios and anamorphic, visit our own Dan Ramer's piece on anamorphic.) Complications... If it were just this simple, perhaps everyone would provide anamorphic transfers. But, therein lies the rub, and more complications. In order to convert the anamorphically squeezed 4:3 image to 4:3 letterboxed, the player not only squeezes the image and blanks out the top and bottom to retain the original 16x9 aspect ratio, it must then take the squeezed 480 line image from the disc and somehow fit it into the roughly 365 lines of resolution left available (as about 30% of the 4:3 frame is now take up by the black bars). To do this, the DVD players eliminates every fourth scan line in the image, thereby turning 480 lines down to around 360. This process is called downconversion, and for many suppliers of DVD, it has been one of the main reasons they have been wary to adopt anamorphic transfers. Technical analyses have borne out that this is a valid worry. Many of the early DVD players especially did not always handle downconversion well, and many 16x9 transfers often had noticeable artifacts in the picture, with the elimination of every fourth scan line resulting in a "jagged" or "striped" look. However, as DVD technology continues to mature, newer players offer noticeably improved downconversion abilities, and many have conceded that 16x9 transfers can look as good or nearly as good on a 4:3 set as non-16x9 transfers can (though this is still debated by some). However, avoidance of 16x9 transfers is not always about such quality issues. It is also about cost. As most older VHS and laserdisc transfers had no need for anamorphic (as 16x9 televisions and HD didn't exist or were virtually nonexistent in consumer's homes), the vast majority of older widescreen transfers where simply "4:3 letterboxed." To make an anamorphic transfer, one must go back and retelecine (make a new film to tape transfer), thus the increased cost of having to redo it all over again is incurred. Consequently, it is often new transfers that are anamorphic (as new transfers have to be done anyway), or on older titles when remastering is unavoidable. However, some studios place quality above cost and an increased budget is allotted for 16x9 enhancement. Thankfully, with the advent of High-Definition, many studios are committing to archiving their films on High-Definition masters and then downconverting to 16x9 for DVD, which generally ensures the highest quality. Warner, Universal, New Line and Sony especially are going this route, though as HD masters are still very expensive, they remain out of reach for many independents. Buena Vista, Rumors and Incriminations Over the past two years, as HD masters become the de facto standard and increased player performance eased fears of player downconversion issues, more and more majors and indies jumped on the anamorphic bandwagon. With the most recent announcement by laserdisc stalwart and major 16x9 holdout The Criterion Collection of their first anamorphic transfers, the focus intensified on Buena Vista and their lack of support for 16x9. Further increasing enthusiast frustration and industry speculation, Buena Vista has continually refused to even comment on the issue, leaving consumers to scratch their heads in bewilderment or harbor growing resentment. In the past, though, rumors and "off the record" comments did appear from various sources that Buena Vista was being "overly cautious," "worried about downconversion issues," "afraid of copy protection issues on HDTVs," or, just being "cheap." However, still, no official statement was ever to come from Buena Vista on the matter. Then, rumors began to surface last year with the announcement of the first Miramax and Dimension Collector's Series titles Good Will Hunting and Scream, as well as the first Criterion-licensed Touchstone title Armageddon, that Buena Vista would finally release their first anamorphic titles. However, despite leaks at the DVD PRO conference in September 1998 from Miramax that anamorphic transfers were being prepared, Buena Vista denied their release, and the subsequent Region 1 releases of all three of these titles were in fact plain 4:3 widescreen. However, Good Will Hunting would later appear via Miramax's Canadian distributor Alliance anamorphic, as would some Buena Vista titles distributed by Warner overseas. However, Buena Vista had an answer for this as well, stating such releases were actually "digitally stretched" from plain old 4:3 widescreen transfers to function as anamorphic, and as such they were not "real" anamorphic transfers. Even DIVX eventually got into the anamorphic game, listing their release of Armageddon on their web site and in promotional materials as being "anamorphic." However, Buena Vista quickly denied this, too, and when the DIVX Armageddon release finally arrived on store shelves, it did indeed turn out to be the same 4:3 widescreen transfer as the existing DVD and Laserdisc releases. The Miramax Factor
After many fits, starts and hopes that Buena Vista would be coming around and releasing at least some 16x9 transfers, many had begrudgingly accepted the fact that Buena Vista and their subsidiaries were simply forgoing anamorphic and relying on their existing 4:3 transfers, or even inferior D2 masters (copies of D1 masters that are made for VHS or Laserdisc, and have many artifacts due to compensations made for the deficiencies in the analog NTSC format). Alas, many staunch DVD advocates that had fought DIVX tooth and nail and pushed hard on other issues seemed to hang up the boxing gloves and give up the fight. Recently, however, a blot appeared on the horizon that has turned out to finally offer proof that there has been more going on behind the scenes with 16x9 than Buena Vista has let on. As is common within such conglomerates the size of a Walt Disney, cracks can appear within such supposedly well-oiled machinery, and it appears not all Disney's divisions are getting along nice with the other kids. In April 1999, two overseas distributors, Roadshow Entertainment in Australia and Kinowelt in Germany, announced some Miramax and Dimension-licensed titles for DVD release. Premieres of hits such as Scream 2, Halloween H20 and Good Will Hunting would not be particularly noteworthy in and of themselves, except that all are listed by their distributors as being anamorphic, even though the prior Region 1 releases were not. Initial calls to both Miramax and Buena Vista went unreturned on the matter, though finally a Buena Vista spokesperson indicated that "they are probably digital 'faux-enhanced' titles," similar to the Warner Region 2 Disney titles. However, a Roadshow Spokesman insisted that "We received true anamorphic transfers directly from Miramax" of titles like Scream 2, "and we have not done any artificial or digital enhancement" on any of them. A statement from Kinowelt confirmed the same. So, just what was going on here? Internal Affairs Though these transfers and the statements regarding them would only amount to rumor or hearsay in and of themselves, speaking on the condition of anonymity, a member Miramax production team confirmed that "we (Miramax) have been making anamorphic transfers for over a year now," and two independent DVD producers who have worked on Miramax titles (and also requested to remain nameless) confirmed that they, too, had encountered 16x9 transfers on their respective assignments. This new wrinkle in the Buena Vista 16x9 story shed new light on previous theories. Though many in the past cited cost issues as a deterrent for releasing 16x9 transfers, if they are already being struck by Miramax, cost for new telecine work would no longer be a factor for Buena Vista in regards to these Miramax titles. Buena Vista, in the meantime, continued to remain mum on the subject. However, though matters between Miramax and Buena Vista appeared calm on the surface, signs were appearing that the relationship between the two over their DVD output was become murkier. After the first two Miramax Collector's Series titles debuted in December 1998, not a single subsequent special edition was released, with announced titles such as Il Postino and Switchblade Sisters being pulled off the schedule, and known "in production" titles like H20 remained MIA. After much prodding and pressure, Buena Vista did finally issue a statement regarding the delay of the Miramax special edition titles. "The main reason we have many Collectors Series DVDs on hold or delayed is the legal clearances for bonus materials turned out to be much more complex than we imagined." Buena Vista further reassured that "everyone here is just as frustrated at these delays, but we are working to resolve them." However, talking further with another member of the Miramax team, the frustrations go beyond simple rights negotiations. "It is true that we have been pressuring the anamorphic issue. Everyone here wants to get it out, and we're so glad someone wants to talk about it," a reference to the growing consumer backlash as well as the mounting protestations and demands by web sites and publications. However, it seems that there is still reluctance on part of anyone at Miramax to go public, because "we have decided to handle it internally. We have no idea why Buena Vista marketing is holding the position that they are, but we certainly will be dealing with it" via privately-held meetings. Buena Vista Finally Speaks Faced with continued probing by the media, mounting animosity from DVD consumers and internal pressures from within, Buena Vista Head of Public Relations Martin Blythe finally issued a statement to DVDFILE.COM last week in regards to the issue of 16x9, as well as the existence of anamorphic transfers of the Miramax titles. Unfortunately, as is the case with a self-admitted "conservative" company like Buena Vista, the answer may not be enough to quell the escalating tensions. "16x9 enhancement is a ongoing issue, and very important" at Buena Vista, "and serious discussions will continue to be held on the matter." Yes, folks, that is it. Though Buena Vista did thankfully admit that Miramax 16x9 titles do exist, they simply do not have anything further to add publicly. However, a further conversation did result in an admission that "there is real concern" over consumer reaction, and "not everyone within Buena Vista" sees eye to eye, a vague reference to the internal conflicts between Miramax and Buena Vista marketing. Also, "2.35:1 aspect ratio transfers in particular" are at issue, as they stand to benefit the most from 16x9 enhancement. Miramax, in the meantime, remains committed to releasing their Collector's Series titles in 16x9 format. In a recent discussion, VP of Home Video Kevin Kasha did offer that though there have been frequent postponements of such titles as H20, Il Postino and Switchblade Sisters, all these titles "will be released," along with more long-awaited titles such as Shakespeare In Love, Life Is Beautiful, Pulp Fiction, From Dusk Till' Dawn and many more top hits. However, as internal problems as well as the publicly stated rights issues continue to hamper their release plans, the Miramax/Dimension Collector's Series release slate remains empty as of this writing. Will It Be Enough? So, will this sparse and inadequate statement hold for long? As Region 1 consumers continued to be denied access to true anamorphic transfers that other DVD enthusiasts all over the rest of the world are currently enjoying, the question remains just how long Buena Vista can continue to avoid the issue and pump out dated and otherwise unexceptional product. Further, as HD continues to make inroads into consumers homes, the DVD market expands, and more and more distributors begin utilizing anamorphic transfers, even uneducated consumers may begin asking just why their Buena Vista titles are the exception in image quality rather than the rule. Buena Vista spokesman Martin Blythe himself may have summed it up best, when he concluded "The issue certainly isn't going to go away anytime soon." As more and more subpar Buena Vista titles are released into the marketplace, one wonders just how much more of them consumers will buy until they say "enough is enough." Scream 2 and Halloween H20 stills Copyright® 1997 and 1998 Dimension Films. Used without permission. If you would like to contact Buena Vista in regards to your thoughts on their policies towards 16x9 enhancement, you can contact them at Consumer Relations, PO Box 908, Lakewood, CA 90714-0908. Consumer Hotline: 800-723-4763 |
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