Recomiendan Apocalipsis Redux ?

[noangels]

Datos de DVDTimes.

- Anamorphic Widescreen Transfers
- English DD5.1 Surround
- English and Spanish subtitles
- Commentary by Francis Ford Coppola
- Watch Apocalypse Now with Francis Ford Coppola
- Marlon Brando's complete reading of T.S. Eliot's poem "The Hollow Men"
- Lost "Monkey Sampan" Scene
- Additional Scenes: Saigon Streetlife, Military Intelligence Escorts, Intelligence Briefing (two extensions), Willard Meets the PBR Crew, Letter From Mrs. Kurtz, Booby Trap, Do-Lung Bridge “…That Road Is Open”, The Photojournalist, Colby, The Tiger Cages, “Special Forces Knife”
- The A/V Club
- The Post Production of Apocalypse Now: A Million Feet of Film: The Editing of Apocalypse Now, The Music of Apocalypse Now, The Sound of Apocalypse Now, The final Mix
- A/V Club: The Birth of 5.1 Sound, Ghost Helicopter Flyover, “The Synthesizer Soundtrack” by Bob Moog, Technical FAQ
- "PBR Streetgang" Cast Members' Reunion
- "Apocalypse Then and Now" Retrospective
- The Added Scenes and Expanded Scenes of Apocalypse Now Redux
- The Color Pallet of Apocalypse Now

Question: Why is the aspect ratio of the Apocalypse Now Redux DVD not the 2.35:1 ratio of the cinematic release?

Answer:
(by Kim Aubry, Producer of Apocalypse Now Redux)

In fact, the transfer of Apocalypse Now Redux (from film elements to High Definition digital videotape) was made with an aspect ratio of 2.0:1. This is consistent with the 1998 transfer of the original film Apocalypse Now done for DVD.

The aspect ratio 2.0:1 was chosen by the cinematographer, Vittorio Storaro, who supervised every aspect of this film transfer. Storaro believes that for the purpose of TV transfer, it is better to crop (slightly) the extreme left/right edges of the originally photographed frame and allow for a taller picture on both conventional and 16:9 TV monitors, because the video presentation will have more vertical resolution and detail and will be more impactful.

An orthodox 2.35:1 or 2.4:1 transfer would in some ways be a more accurate reflection of the framing seen in most cinemas, but the picture would be using only approximately 50% of the available scanning lines of the NTSC and PAL systems and hence have very limited vertical resolution. Storaro believes that since he himself composed these shots when the film was made and since he carefully made fine adjustments to the framing as needed in the transfer, the 2.0:1 transfer is the best possible compromise in adapting the very wide film picture to the very "square" TV.

Mr Coppola and I agree with Storaro's views and accepted his decision.

You are right to wonder about the discrepancy between the theatrical trailer and the feature itself. But the feature is not 1.85:1, it is 2.0:1. The transfer of the trailer was not supervised by Storaro, and was done using the conventional theatrical aspect of 2.35:1. It doesn't bother us, as this is considered a DVD "extra."