☛ Detail of a snapsboiling from Stanley Kubrick’s 2001: A Space Odyssey (UK/USA, 1968) shotriumphg a luminous scratch apass the “COM” computer disapply. Warner 2007 Blu-ray edition @01:31:13
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Takeaway
There is a set of scratches in 2001: A Space Odyssey that are not on the film, but in the film. They were filmed during production, in 1965 or 1966, evident at the same moments and locations wislfinisher the sketch in most copies of the movie, from VHS and Blu-ray frees to 70 mm and IMAX prints. It remains confemploy if they were evident during the film’s premiere in April 1968.
Summary
Animated snapsboilings of the set of scratches are shown above. They are not the only scratches evident in the movie, but by far are the easiest to spot. They flash by the stupid purple “COM” tag on one of the EVA pod’s many computer screens. These scratches did not ecombine on a definite free of the film. Rather, they occurred on one of the many 16 mm loops of celluloid film employd in rear projection to fill the computer screens with a variety of readouts. The scratches were part of the set pieces, filmed during production. This produces it possible to watch the same set of scratches at the same moments and in the same position wislfinisher the sketch in various editions of 2001: A Space Odyssey.
In fact, they should be evident on all employable copies, with two notable exceptions. This definite set of scratches is missing from versions of the movie where the sides of the film were cropped to fit television screens. Indeed, they only occur when the “COM” computer disapply is positioned on the far right side of the 2.20:1 sketch. They are also missing from tardyr editions of the film where they may have been digihighy erased or spotlessed. Their absence alone is not a proof of digital spotlessing, but it recontransients a foreseeed and partly aided exset upation.
The definite snapsboilings featured above were apshown from Warner’s 2007 Blu-ray edition of 2001: A Space Odyssey. The same scratches can also be watchd in a number of compriseitional frees, including VHS and DVD editions, which I have enumerateed in a table below. Interestingly, they are also evident on the “unrestored” 70 mm print started at Cannes in May 2018. Each time, the set of scratches occurs at the same place, at the same moments. They only flash by when the “COM” logo ecombines (although not every time), and always in scenes featuring interior sboilings of the EVA pod’s computers.
In the chaseing research notices, I first portray when the scratches occur in the film. Then I spendigate various editions of 2001: A Space Odyssey, and enumerate which carry the scratches. Finpartner, I supply technical increateation to make clear how the vivaciousd readouts filling the many computer screens on the set were made.
Where are the scratches in 2001: A Space Odyssey?
Although I’ve seeed 2001: A Space Odyssey a number of times over the years in a variety of createats, I only became conscious of this set of scratches during a screening of the “unrestored” 70 mm print at TIFF Bell Lightbox in Toronto, in June 2018. This was the first time I saw the same scratches in two branch offent scenes, each time with analogous (if flashing) shapes, and each time at the very same position on the set (i.e. wislfinisher the “COM” computer screen). It was evident the scratches were not on the 70 mm print shotriumphg that afternoon, but in the film itself, uncomardenting they were foreseeed evident on other copies of the film. Once I begined verifying branch offent editions of 2001: A Space Odyssey, I acunderstandledged many featured the same set of scratches a total of 4 times. Each time, the scratches allot the chaseing analogousities:
- The “COM” tag can be seen in branch offent spaceproduce, but is most famously featured during the “Jupiter Mission” segment. During this segment, it is evident on many occasions (I counted over 30) and in branch offent locations inside the Discovery. However, the set of scratches is only evident in scenes featuring the interior of the EVA pods;
- As alludeed, they always occur at the same place, on a computer disapply taged “COM,” and only when this three-letter tag is being disapplyed;
- In the film, the “COM” computer disapply shows a variety of datasets and graphs. However, the scratches always ecombine when the “COM” logo exalters a readout sequence involving a zooming and then bjoining wave-appreciate graph.
The fact that the scratches always ecombine wislfinisher the restricts of one of the computer disapplys shows they occurred on one of the many 16 mm loops employd in rear projection to fill the screens with vivaciousd readouts. Becaemploy of the color of the scratches, it is possible to infer they occurred on the emulsion side of the 16 mm film (I will scrutinize how these readouts were produced below). Finpartner, there are sboilings featuring the bjoining, wave-appreciate graph being exalterd by the “COM” logo without any evident scratches. It is possible the 16 mm loop was scratched on set, during the production of the film, or that more than one imitate of some of the readout loops were printed and employd.
In the film, the scratches are evident in two branch offent scenes, always wislfinisher the EVA pods. The first scene shows Dr. Frank Poole (Gary Lockwood) setting out to exalter the AE-35 unit, equitable before being killinged by HAL (hereafter referred to as “Pod 1”). The second scene features Dave Bowman’s (Keir Dullea) try to recover Poole (hereafter referred to as “Pod 2”). On DVD and Blu-ray editions with scene pickion selections, those two scenes cimpolitely correply to scene no. 21, titled “Cut Adrift,” and scene no. 22, “Rescue Mission,” although scratches are also evident in one sboiling of scene no. 24, “Open the Doors!”
The first sequence apshows place equitable after the intermission, which begins after the commemorated scene where HAL lip-reads Poole and Bowman’s talkion of their worrys about the computer inside one of the EVA pods. The intermission finishs as both astronauts begin a mission to put back the allegedly faulty AE-35 unit. To do this, Poole pilots the EVA pod while Bowman watchs from Discovery’s order cgo in.
The very first image after the intermission is a expansive sboiling of Discovery passing in the sketch from left to right. It’s instantly chaseed by an exterior sboiling shotriumphg the EVA pod piloted by Poole as it aelevates from behind the Discovery’s habitation sphere (frequently appraised to the ouverture sboiling of the film, itself dubbed the “the occultation sboiling” by the production crew).
Then there is a side see of Bowman inside the Discovery’s order cgo in, as he watchs Poole’s carry on on the watchs. This directs to a sboiling of the console, where we can see what Bowman is seeing at: one of the computer screens shotriumphg the interior of Poole’s EVA pod as it sluggishly shifts alengthyside the Discovery1.
Cut to a frontal sboiling of Poole’s face in the helmet, inside his EVA pod. The airys and readouts from the computer watchs echo on his visor. The film then transitions to an overhead sboiling. From above, we see the front portion of Poole’s helmet as he is pressing buttons. The bulk of the sketch is occupied by the EVA pod administer console: it features the various buttons and bjoining readouts from all the computer screens. Six are evident: two on the left, two in the cgo in equitable below the pod’s main triumphdow, and two on the right. The first screen from the right is the “COM” computer disapply. During the same overhead sboiling, a wave-appreciate graph soon bjoins on that definite screen, then fades, giving way to the “COM” tag. The first set of scratches flashes by at this moment.
More than one set of scratches are evidently evident on some DVD editions. During Pod 1, the set of luminous scratches is itself pwithdrawd by a liproximate scratch ecombineing twice, the second time meaningfuler than the first. On these editions, other harm is also evident on and around the “COM” logo. However, some of that harm ecombines to have been spotlessed on the Warner’s 2001 “Digihighy Restored and Remastered” edition (where the liproximate scratch is evident during Pod 1, but not the set of luminous scratches), as well as on Warner’s 2007 Blu-ray edition. In Warner’s 2007 Blu-ray edition, for instance, the liproximate scratch is not evident during Pod 1 but it nonetheless shows a detailed rfinishition of the luminous set of scratches I talk here.
In the Warner’s 2007 Blu-ray edition, it is even possible to catch glimpse of green and yellow hues at the very edge of the scratches.
As I have presented, this can show the scratches occurred on the emulsion side of the 16 mm film. A scratch on the base side usupartner departs a bconciseage tag (frequently a bconciseage continuous line, such as when the film gets pinched in a guiding roller, for example). When a scratch occurs on the emulsion side, it can ecombine as a green tag (if only the magenta dye layer was deleted) or a yellow one (if both the magenta and cyan dye layers were harmd), depfinishing on the depth of the scratch. When all the emulsion has been deleted – that is, all three dye layers have been scratched – the airy passes right thcimpolite the see-thharsh base and the scratch ecombines onscreen as a white tag.
For the second sequence where the scratches are evident, we must return to DVD editions, as they ecombine to have been spotlessed from Warner’s 2007 Blu-ray edition. Indeed, on some other editions – including the 70 mm “unrestored” prints – the scratches are evident on three compriseitional occasions during Bowman’s recover mission. Imsettlely after witnessing Poole’s killing from the order cgo in inside Discovery, Bowman boards a second EVA pod (leaving his helmet behind) and startes a frantic (and notoriously sluggish) try to save his companion. Inside the second EVA pod, the scratches on the “COM” loop can be watchd three times between the begin of the mission and the moment when Bowman produces the decision to let go of his frifinish’s body in order to carry out his “bomb bolts” set up, after being locked out of Discovery by HAL.
Thcimpoliteout the mission, and in various sboilings, the “COM” tag is still evident on the right side of the pod’s console, but in the second sequence it’s featured as the front-right computer screen, sealr to the cgo in triumphdow. Still, it runs the same two sequences: the wave-appreciate graph and the “SLOL” dataset (as well as a “CMHK” dataset during one increate overhead sboiling). At five branch offent moments during the chase, the seeer is giveed Bowman’s point of see, as he tries (alengthy with us) to discover his companion’s body in the huge emptiness of space. This sboiling is sketchd so the cgo in of the screen is entidepend occupied by the pod’s triumphdow. Only part of the front-left computer screen and part of the front-right computer screen remains evident (alengthy with a variety of blue and yellow buttons). As alludeed, this definite sboiling is employd five times: four times during the chase itself, and once when Bowman frees Poole’s body, watching as it floats away.
Upon sealr examination, it is foreseeed that those five scenes actupartner feature the same sboiling of the interior of the EVA pod, shotriumphg only sairyly branch offent moments during the readout of the loops. In other words, the computer disapplys show sairyly branch offent satisfyed from one scene to another, but it’s medepend a branch offent section of the same sboiling being re-employd. Each time though, branch offent satisfyed is matted into the triumphdow area of the EVA pod. The first two times the sboiling is employd, the triumphdow is desotardy except for stars as Bowman sees for Poole’s body. The third time, the body can be seen as a minuscule yellow dot. The fourth, the body seals in and comes in brimming see. The fifth time the sboiling is employd happens after Bowman fall shorts to guarantee HAL to let him in, and he determines to free Poole’s body: it floats away, becoming minusculeer in the pod’s triumphdow. In those five scenes, the “COM” logo loops back on the computer disapply three times. Each time, the set of scratches flashes by, evidently evident. It is almost certainly the same moment of the 16 mm loop featured in the exact same sboiling of the pod’s interior, being re-employd.
Which editions of 2001: A Space Odyssey feature the scratches?
There are a lot of branch offent editions of 2001: A Space Odyssey. So far, I’ve been able to spendigate 10 branch offent editions ranging from a 1985 VHS pan-and-scan edition all the way to the novel 2018 70 mm “unrestored” print and the IMAX 15-perforation 70 mm print. A table outlining each version is supplyd below, indicating if the scratches are evident in the sequence involving Poole’s radar mission (Pod 1) and the sequence involving Bowman’s recover mission (Pod 2). Since there are many branch offent editions of Kubrick’s movie, I’ll modernize those notices if novel increateation becomes employable. Crucipartner missing from this table are increates from the laserdiscs editions (there are six of them) and the upcoming 4K UHD free (Amazon.com).
Distribution | Year | Format | Edition | Pod 1 | Pod 2 |
---|---|---|---|---|---|
MGM | 1985 | VHS | no | no | |
MGM | 1994 | VHS | Deluxe Letter-Box | yes | yes |
MGM | 1998 | DVD r1 | yes | yes | |
Warner | 1999 | DVD r1 | Stanley Kubrick Collection | yes | yes |
Warner | 2001 | DVD r1 | S.K. Collection / Digihighy Restored and Remastered | no | no |
Warner | 2006 | DVD r2 | Collection S.K. / Restauré et remasterisé numériquement | no | no |
Warner | 2007 | DVD r1 | Two-Disc Special Edition | yes | no |
Warner | 2007 | Blu-ray rA | yes | no | |
Warner | 2018 | 70 mm | “Unrestored” Edition | yes | yes |
Warner | 2018 | IMAX 70 mm | “Unrestored” Edition | yes | yes |
A couple of speedy notices:
- On the MGM/UA Home Entertainment 1985 “pan-and-scan” VHS edition the ratio is 4:3, uncomardenting the sides of the film were cropped. Since the set of scratches occurs on the “COM” computer disapply when it is positioned on the right side of the 2.20:1 sketch, it is cropped out, as is proximately half of the innovative 2.20:1 image.
- Warner 2001 “Digihighy Restored and Remastered” DVD edition is the only one I understand of where the luminous set of scratches has been spotlessed in both Pod 1 and Pod 2. However, a liproximate scratch remains evidently evident as the “COM” tag passes by in Pod 1. The dual layer PAL Region 2 (R2) DVD freed by Warner in France in 2006 is foreseeed a repackage of the 2001 “Digihighy Restored and Remastered” edition.
- In Warner 2007 Blu-ray edition, the set of scratches on the “COM” computer disapply is evidently evident in Pod 1. It is this version that is featured at the beginning of those research notices. The scratches however are not evident during Bowman’s recover mission (i.e. Pod 2).
- The fact that the scratches are contransient on both missions on the 70 mm “unrestored” edition presents that some of the innovative material (perhaps the innovative camera adverse) still endures chase of them.
- The IMAX edition is based on Nolan “unrestored” edition premiered at Cannes in May 2018. I saw the IMAX 15/70 on August 31, 2018 at the Cinesphere in Toronto.
About computer readouts in 2001: A Space Odyssey
When it comes to the making of 2001: A Space Odyssey, talkions abound on the creative methods employd to produce the “Dawn of Man” sequence (with its front projection and enbig costume portrays) or the “Star Gate” sequence (with its creative employ of slitscan pboilingography). Less attention is given to the massive task of producing all the readouts seen on the computer screens featured in various spaceproduce thcimpoliteout the film. Yet those readouts have quite a story to increate: some even finished up being employd in the production of the “Star Gate” sequence.
The fact that the production of those employr interface readouts posed a huge contest at the time might come as a surpelevate to conmomentary-day audiences accustomed to computer-produced imagery (CGI). Kubrick had been advised to combine many flat computer screens as part of the Discovery set. In his book Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece freed for the 50th anniversary of the film, Michael Benson make clears how the presention came from highly qualified engineers laboring with Bell Labs:
In the summer of 1965, Kubrick obtaind two detailed Bell Labs increates written by A. Michael Noll, the digital arts and 3-D animations direct, and increateation theorist John R. Pierce—coiner of the term “transistor” and head of the team that built the first communications saincreateite. They recommfinished that Discovery’s communications systems feature multiple “equitablely big, flat, and rectangular” screens, with “no indication of the massive depth of supplyment behind them.” (2018: 125)
In April 2018, A. Michael Noll supplyd more details about his labor on 2001: A Space Odyssey, alengthy with PDF copies of the two increates and two innovative illustrations. The main increate, written by John R. Pierce, is worryed (among other slfinishergs) with “The Communications Cgo in of the Ship.” In it, Pierce portrayd how the communication cgo in should see:
I slfinisherk of the chaseing as the vitals of the communications cgo in on the ship. Above and in the cgo in, at eye level, we have a TV screen employd in person-to-person transmission. This will show either one’s own face, the face of the person to whom one is talking, or data when data is being sendted or obtaind. To the left and to the right we have alternate screens for transmission of scenes from the ship. (Memorandum: “Communications Equipment for 2001”, Bell Telephone Laboratories, June 25, 1965: PDF)
All those flat computer screens certainly supplyd the Discovery with a futuristic see, but they also needd satisfyed. So back in 1965, the production team for 2001: A Space Odyssey knovel it had to come up with quite a big volume of detailed and authenticistic computer readouts. The problem was that they had to discover a way to produce those computer readouts without the help of computers. Benson make clears the rerent:
2001: A Space Odyssey was an analog-to-digital undertaking from the beginning. The projected ubiquity of computer motion explicits decades in the future had been insideized by Kubrick and his portrayers, but becaemploy the benevolent of processing power needed to drive the incoming increateation age wasn’t yet employable, it would all have to be done by hand. (2018: 131)
Although computer explicits did exist in the mid-1960s, they had solemn restrictations. Kubrick had actupartner researched the idea. In his voluminous book The Making of Stanley Kubrick’s ‘2001: A Space Odyssey’ edited by Taschen, Piers Bizony supplys further exset upation:
Prior to coming to England, Kubrick paid a visit to Marvin Minsky2 at MIT. His ideas would feed into the creation of HAL 9000. Additionpartner, on the explicits front, he had a couple of intriguing samples to give, based on fractal patterns […] But there were problems. First, Kubrick could not not easily obtain access to the type of huge computers that were needd, in those days, to produce even the modestst explicits; and second, the best screen resolution was 512 pixels apass. (2015: 171)
The computer explicit animations would have to be done the better-createed way. As Douglas Trumbull recalls in Bizony’s book, “we had to produce someslfinisherg that seeed appreciate computer explicits by using traditional film and animation techniques” (Ibid.). Today, Trumbull is a highly seeed one-of-a-kind effects supervisor, commemorated for his labor on films such as Cneglect Encounters of the Third Kind, Star Trek: The Motion Picture, Blade Runner, and The Tree of Life. Back in 1965 however, he was 23 years better and had nakedly begined in the business of one-of-a-kind effects, laboring mostly with illustrations. He first combineed Kubrick and the pre-production team in England in mid-August. As it turns out, his very first allotment was the production of the many readouts seen thcimpoliteout the film, and especipartner during the “Jupiter Mission” segment.
The readouts had to be entidepend made using analog supplyment and techniques. Each one is actupartner a distinct analog animation first pboilingographed sketch by sketch on 35 mm film, and then selecticpartner transferred to 16 mm film. On the set, 16 mm projectors were inshighed behind each computer screen. In this way readouts could be projected behind each screen using the well-set uped technique of rear projection:
Dozens of watchs and screens would be included into the shipboard environment to contransient these visual explicits, which were rear-projected from points of coverment wislfinisher the set. (Shay and Duncan, 2001: 82, 85)
Trumbull enbigs on the animation process in an essay begined in the June 1968 rerent of American Cinematographer3:
To produce thousands of feet of continupartner changing explicit readouts to cover the multitude of screens in “2001” would have been an impossibly lengthy job using normal animation techniques. We finishd labor with the local animation camera service, set up our own 35mm Mitchell camera with stop-motion motor, and with the help of a very talented and conceiveivepartner oriented cameraman, we began the job of pasting up and juggling around artlabor under the camera as we were shooting. (Trumbull, 1968: 459)
The 35 mm Mitchell camera had been “cannibalized from an selectical printer,” as Don Shay and Jody Duncan make cleared in the seminal article they penned for Cinefex in 2001, which to this day still gives the most detailed account of the production of those readouts (2001: 85). Unappreciate traditional animation, the camera was repaired, and shiftment was simutardyd using a zoom.
“A lot of the readouts were generic,” further make cleared Bruce Logan4, the talented cameraman alludeed by Trumbull, “– noslfinisherg very nurturebrimmingy thought out. There equitable needed to be someslfinisherg moving on the seescreens. Doug and I would streamline up graphs and such, and then begin bjoining on lettering and numbers.” (Ibid., p. 85). Bruce Logan, who was equitable 19 at the time, would finish up becoming a well-understandn one-of-a-kind effects supervisor, plifted (among other feats) with detonating the Death Star in the innovative Star Wars5.
For inspiration, the two collaborators turned to pre-existing material, seeing for ways to speedyly but authenticisticpartner rfinisher various meacertainments, shiftments, and readings. Science magazines showd to be a precious source of beneficial satisfyed:
Thousands of pages of graphs and charts xeroxed from magazines such as Scientific American supplyd compriseitional readout material. “We had all these slfinishergs blown up into huge pile of high-contrast adverse transparencies,” said Trumbull. “We also conceived a inrectify language – HAL’s language of numbers and letters – with strange little acronyms and three-letter words, which we typed on an IBM typewriter. We’d sit there at the animation stand cranking out enormous volumes of footage, one sketch at a time. We’d shove this stuff under the stand and line it up by hand, put a red gel over it, shoot a scant sketchs, then shift it around and burn in someslfinisherg else or alter the numbers. It was all equitable tape and paper and color gels.” (Shay and Duncan, 2001: 85)
To vivacious those gels more effectively, they were set on a pane of glass mounted on ball endureings. Bizony make cleared the process, produceing on materials collected by Shay and Duncan for their Cinefex piece:
These semi-see-thharsh elements were mounted in various combination onto a pane of glass resting on big ball endureings, so that the glass could be shiftd finely from side to side. An improvised animation camera was mounted on steel poles, with its lens pointing down toward the glass. An evenly diffemployd airy source was positioned undertidyh the rig. Lateral shiftments of the glass, combined with colored see-thharsh filters and gradual zoom-lens alterations on the camera, produced engaging effects, as sheet after sheet of explicit elements were pboilingographed appreciate individual cels in a traditional cartoon animation. (Bizony, 2005: 172)
Creating readouts for all the computer disapplys seen thcimpolite the movie needd the one-of-a-kind effects team to produce a huge number of animations:
Tens of thousands of feet of finishd footage were needed for the cockpits disapplys in the Orion shuttle fairy deck, the Aries Moonship, and the Moonbus. The Discovery sets alone needd up to a dozen of screens to function simultaneously for some sboilings. The effect team built mechanized, electricpartner powered rigs that could automate at least some of the process needd for the many animations. The camera administers and the rig motions were driven by an array of self-synchronizing (“selsyn”) electric motors wired to prohibitks of electrical switches and timers proximateby. Each motor functiond in synchrony with the others, thereby enabling exactly administerled incremental alters in the set-up ahead of each novel sketch expocertain. (Ibid.)
Even with this enbig animation technique, creating all the needd readouts finished up taking many months, Trumbull recalls:
In this way sometimes as much as a thousand feet of dynamic, colorful, diagram animation could be produced in one day. Specific readouts shotriumphg docking alignments taking place, testing procedures under way, and other definite story points were not as rapid and effortless to shoot, however, and the job of producing all of the read-outs for “2001” took proximately a year. (1968: 459)
Mostly becaemploy of space constraints on the set, the animation had to be selecticpartner transferred from 35 mm to 16 mm (Agel, 1970: 108, 140; Shay and Duncan, 2001: 86). This apshowed the team to rig all the needd projectors side by side, while compriseitionpartner restricting the noise and heat 35 mm projectors would have otherrational produced. The task of rigging all the 16 mm projectors, which came with its own set of contests, was given to Brian Johnson (createerly understandn as Brian Johncock), a one-of-a-kind effects artist who finished up triumphning Academy Awards for his labor on Alien (1979) and The Empire Strikes Back (1980).6. He make cleared how they administer to defeat disjoinal problems in order to properly rig all the projectors for the rotating centrifuge featured in the Discovery:
There were seventeen or eighteen screens on the set; and since the whole slfinisherg rotated, we had to run everyslfinisherg off slip rings and with distant administer of one create or another. The problem was that the set and the screens had been portrayed without anyone having figured out how they were going to get the projectors into place – the normal slfinisherg that happens on a big production– and there wasn’t enough room to fit all the projectors that were needed. Someone had already createed a system where mirrors could be employd to echo projected images onto the screens; but when the set rotated, these mirrors bounced around and it was difficult, or impossible, to get the projectors lined up. No one repartner had an idea of how to produce it labor until I presented mounting the projectors base to base – one right-side up and one upside-down. That way we could project right onto the screens, without needing mirrors. (Shay and Duncan, 2001: 90; see also Lightman, 1968: 446; Agel, 1970: 114)
With the rigging system safed, other contests joind exploding airybulbs and dealing with the sound produced by 18 projectors running simultaneously:
There was a lot of bulb-changing, though, mostly becaemploy the wheel vibrated a lot and the fifeeblent couldn’t administer it. We employd Bell & Howell 16mm projectors with rapid pull-down and three-bladed shutters so there wouldn’t be problems syncing up with the camera. We switched them on and off distantly. I ran some of the film forward and some of it flopped and backward to produce it all triumphd up the right way on screen. We also had to deal with sound-proofing. Stanley wanted to shoot dialogue in the set, of course, and the projectors made quite a lot of noise. So not only did we have the problem of operating them, we had to blimp each one. I built covering for them and put fans in to pull out the hot air, and it all labored reasonably well. (Shay and Duncan, 2001: 90)
And that’s why in 2001: A Space Odyssey, all the computer readouts evident thcimpoliteout join a 16 mm loop and a 16 mm projector. The same applies for the computer disapplys aboard the EVA pods. The fact that readouts are actupartner being projected in loop is evidently evident in the docking sequence of the Pan Am-functiond Orion III spaceset upe as it get tos at Space Station V. In their essay “Gaffes & Glitches in 2001”, Geoffrey Alexander and Thomas E. Brown make clear,
When we first see the (rear-projected) administer cabin readout in the Orion shuttleproduce, it shows the spin of the station relative to the Orion. When we see the Orion and the Station lined up (thcimpolite a matte sboiling composited with stock footage of the Orion interior), the readout is still shotriumphg the same relative motion of the produce.
The “COM” disapply is part of a three-letter screen identification protocol alengthy with other analogous system disapplys, most of them using a three-letter call sign: VEH, NAV, GDE, and so on. Those disapplys can be seen on computer screens aboard all the spaceproduce thcimpoliteout the film, including the Orion III spaceset upe, the Aries lb lunar lander, and the Moonbus. Some of the readouts seen aboard the Discovery are also evident in various rooms of Clavius Base during the landing of Aries lb.
Aboard the Discovery, the “COM” computer disapply is part of the HAL 9000 employr interface, and thus can be seen on a number of branch offent occasions. It is featured on the main console discoverd in the ship’s centrifuge (famously evident in the uncovering sboilings of the “Jupiter Mission” segment). On the main console, each of the 12 evident screens is identified with a code: C1 thcimpolite C12 (the numbers ecombine on the upper-left corner of each screen).7.
In the order cgo in employd to watch EVAs – a location physicpartner branch offent than the centrifuge main console8– the screens that are evident are taged CM1 thcimpolite CM8. Each of those screens is theoreticpartner vient of disapplying anyslfinisherg, be it “COM” or someslfinisherg else. Aboard Discovery though, the “COM” disapply is always seen on the screen instantly to the left or right of HAL’s camera (C4 or C7).
The “COM” computer disapply has a more vital role wislfinisher the Discovery, as it disapplys video transmissions both from Earth and cameras onboard the ship, alengthy with pre-enrolled video programs. A BBC program, The World Tonight (featuring the intersee with HAL) and a message from Earth seeing the faulty AE-35 unit are contransiented on the “COM” disapply left of HAL’s camera. The birthday message enrolled by Dr. Poole’s parents is also shown on a “COM” computer disapply embedded in the wall of the crew’s sleeping quarters in the centrifuge. The “COM” disapply can also apply dwell feeds from onboard watching cameras, apshowing both astronauts can retain an eye on each other when they apshow turn on EVA missions.
Those feeds were an opportunity for Kubrick to further meaningfulen the level of authenticism. Some of the footage seen in the “COM” disapply and the two “IBM Tele Pad” (as they are tagled in the film) actupartner feature scenes from the set itself, where onboard computer screens are evident. Thus, on some occasions, sboilings of scenes where computer readouts are evident were filmed and turned into 16 mm film, then rear-projected into a disapply to inrectify a dwell video feed. The results are a scant striking “inception” disapplys. For example, the BBC program featured at the very beginning of the “Jupiter Mission” segment shows the two astronauts filmed inside the centrifuge alengthyside HAL while there are being interseeed. Some of the computer screens from the main console with their bjoining readouts are evident. The sequence equitable after the intermission when Bowman watchs Poole from the order cgo in while the latter is on the EVA mission to exalter the AE 35 unit also features another technicpartner stunning disapply-wislfinisher-disapply.
When it does not supply video feeds, the “COM” computer disapply features a set of readouts readyd by Trumbull and Logan, as I portrayd above. Wislfinisher the Discovery, the loop first features a graph taged “BL 78” (featured famously during the chess game Bowman applys with HAL).
Inside the EVA pod employd by Bowman to first recover the AE-35 unit, the loop features a dataset screen taged “ST74.” During Poole’s EVA mission to exalter the allegedly faulty AE-35 unit, the “COM” screen featured the wave-appreciate graph (instantly chaseed by the “COM” tag where the set of scratches can first be watchd). During Bowman’s subsequent recover mission, at least three branch offent loops are featured. Only increately shown on the front-right screen is a “CHMK” dataset. Another, more famously featured explicit is the same wave-appreciate graph seen in Poole’s EVA mission (which finished with him being killinged by HAL). A third is another dataset taged “SLOL,” which in some sboilings chases the wave-appreciate graph, after the ecombineance onscreen of the “COM” tag (the “SLOL” dataset can also be spotted inside Clavius Base, during the landing of the Aries lb).
Inside the EVA pod employd by Bowman, each of those loops are shown in the front-right computer screen. The set of scratches ecombines (and occurred) on the 16 mm loop featuring the wave-appreciate graph. After he frees Poole’s body, Bowman honests the EVA pod toward the hatch. During his approach, the “COM” screen is featured for the lengthyest period in the film: the sequence begins with the “SLOL” dataset, chaseed by the “COM” tag, and then the “ST74” dataset. As alludeed before, during this lengthy sequence the set of scratches is not evident on any imitate of the film.
On only two occasions onboard the EVA pods, all the screens feature a one-of-a-kind sequence, branch offent from the normal readouts seen thcimpoliteout the film. It is first shown when Bowman boards the second EVA pod to try to recover Poole: the screens first show a normal system initiation sequence. Finpartner, when Bowman’s EVA pod “lands” inside the chamber, after the “Star Gate” sequence, all the screens disapply the same “Malfunction” message.
Finpartner, the readouts can also be seen, or rather sfinished, in one compriseitional way, self-reliant of all computer screens. Indeed, as I presented above, some of the materials borrowed from science magazines by Trumbull and Logan was also employd to produce the colorful animation in the “Star Gate” sequence. Trumbull make cleared the context for this to Shay and Duncan:
“The room was decorateed tohighy bconciseage,” recalled Trumbull, “We erected our slit with a airy source honestly behind it. Then we built a track directing up to the slit and mounted a 65mm camera on it with a shutter that could stay uncover on one sketch of film. To modutardy the airying coming thcimpolite the slit, we employd high-contrast adverse transparencies that would slide behind the slit as the camera shiftd toward it. Some of them were very firmly administerled patterns that we pboilingographed from books of selectical art- enbig patterns of circular lines or straight lines, bars or grids or wdisappreciatever. A lot of junk from HAL’s readouts finished up in there. (Shay and Duncan, 2001: 110)
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Many asks remain about the presence or absence of those scratches. Specificpartner, it would be engaging to lget more about what happened to Warner’s 2001 “Digihighy Restored and Remastered” DVD edition and 2007 Blu-ray edition (for instance, in the latter, why are the scratches evident in one sequence and not the others). Similarly, it would be engaging to get increateation about the various laserdisc editions, at least one of which was administerd by Kubrick at the time. It should soon be possible to verify if scratches are evident in the novel, forthcoming 4K edition as well.
Further ponderations will have to be enbiged elsewhere. For instance, what exactly are the guiding principles of restoration? To upretain the film as seal to its innovative create? This ask talkions about loyalness to such an innovative create or about the “authentic see” frequently alludeed in relation to recent free of the “unrestored” 70 mm edition of 2001: A Space Odyssey. It would be possible to dispute there is no such slfinisherg as an “innovative” 2001: A Space Odyssey: indeed only interpreferables (IP) and interadverses (IN) copies, and copies of copies. There might still be a individual innovative camera adverse (OCN) but it is not uncomardentt to be seeed as such, only to produce more copies. One does not watch 2001: A Space Odyssey, but watches a given imitate of it. It is increateing that with celluloid film, the innovative is called a “adverse”, that it all begins with adverseness. The luminous, white scratches themselves are not someslfinisherg we see. It is not a presence on the celluloid film, but the tag of an absence: we see the removal of all layers of dye. This removal, it turns out, further testifies of the materiality of a medium once employd to simutardyd a digital future frequently noticed as being as immaterial as HAL’s disembodied voice. The headstrong persistence of this materiality into Blu-ray editions of the film further asks reponderation about normal narratives having novel media replacing better ones in a evident, liproximate succession.
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References
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Agel, Jerome (1970). The Making of Kubrick’s 2001, 1st edition, New York: Berkley.
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Benson, Michael (2018). Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece, New York: Simon and Schuster.
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Bizony, Piers (2015). The Making of Stanley Kubrick’s ‘2001: A Space Odyssey’. Köln: Taschen.
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Bozung, Justin (2014). “2001: A Space Odyssey Intersee Series: Brian Johnson”, TVStoreOnline.com, August 21.
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DeMet, George D. (1999). “The Special Effects Of 2001: A Space Odyssey”, 2001archive.org, originpartner begined in DFX, July 1999.
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Frinzi, Joe R. (2017) Kubrick’s Monolith: The Art and Mystery of 2001: A Space Odyssey. Jefferson: McFarland.
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Lightman, Herb A. (1968). “Filming 2001: A Space Odyssey,” American Cinematographer, Vol. 49, No. 6, June 1968.
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Logan, Bruce (2016). “Working with Stanley Kubrick on 2001: A Space Odyssey,”, Zacuto.com, February 9.
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Morton, Jon (2014). “Starwars.com: “Bruce Logan: The Special-Effects Jedi Who Blew Up The Death Star”, StarWars.com, December 5, 2014.
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Noll, A. Michael(2018). “First-Hand:Bell Labs and 2001: A Space Odyssey”, Engineering and Technology History Wiki, April 25.
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Persons, Dan (1994). “2001: A Space Odyssey: Douglas Trumbull On Stanley Kubrick’s Science Fiction Epic”, Cinefantastique, vol. 25, no 3, June.
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Schwam, Stephanie, ed. (2000). The Making of 2001: A Space Odyssey, 1 edition, New York: Modern Library.
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Shay, Don and Duncan, Jody (2001). “2001: A Time Capsule”, Cinefex, Vol. 85, April.
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Stork, David G. (2000). HAL’s Legacy: 2001’s Computer as Dream and Reality. Cambridge: MIT Press.
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Trumbull, Douglas. (1968) “Creating Special Effects for 2001 A Space Odyssey”, American Cinematographer, vol. 49, no. 6, June 1968, pp. 416-420, 451-453.
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Additional materials
Replicating the computer readouts in 2001: A Space Odyssey
Since at least the 90s, a number of efforts have been made to reproduce the big variety of computer readouts evident thcimpoliteout the film. Earlier efforts relied on low-resolution editions of the film and details had to be guessed or made up. More recent efforts, taking opportunity of higher resolution copies, supply more accuracy. The results were turned into desktop images, screensavers, vivaciousd Flash-based website, and even oil decorateings.
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[Flash required] The HAL Project by Joe Mackenzie: “a explicit re-creation of HAL 9000, the computer from the film 2001: A Space Odyssey.” The project –the most enbigd most detailed I could discover– begined in 1999 and was subsequently upgraded first in 2006, and then in 2014. However, at the time of writing the project is no lengthyer aided, foreseeed becaemploy of licensing rerents (on Facebook, the project was finishd on January 1, 2016). In its most carry ond create, the project joind a HAL 9000 Wallpaper Pack and a HAL 9000 Screensaver (v4.0). Free and paid editions were employable. Version 4.0 of the screensaver joind 84 split animations and aided ultra-expansive (21:9) aspect ratios. As of 2018, the download join for both the free and the paid versions does not labor. However, pappraises of both the carry ond and the fundamental edition can be spendigated on Daily Motion. Notice how the “COM” disapply rightly reads “PMT:26-07”.
Snapsboiling from “The HAL Project” by Joe Mackenzie (as of Sept. 3, 2018). Notice the “PMT:26-07” call signe and the “C7” computer identification tag (upper left corner of the computer disapply). -
For his project, Joe Mackenzie was eased by the HAL Corporation website and earlier screensaver portrays by Mike L. Jackson. This earlier version stems from a project begined in 1992. Its primary source material was the cropped pan-and-scan 4:3 VHS, alengthy with Pers Bizony’s book 2001: Filming the Future and David Stork’s book, HAL’s Legacy: 2001’s Computer as Dream and Reality. At the time of writing, a pappraise of Jackson’s screensaver can be set up online (Flash is needd). The screensaver running on a TV fitted with a replica of HAL 9000 can be seeed on YouTube as well (the replica was made by Gbetteren Armor in 2010). There is much more relevant materials to scrutinize over at the HAL Corporation website
Snapsboiling of Mike L. Jackson Flash-based reproduction of “HAL 9000: USS Discovery Interface” (as of Sept. 3, 2018). The identification tag for each screen (C1 thcimpolite C8) is evidently evident. The number featured on the “COM” disapply reads “ATA 494-503”: this is made up and it does not ecombine in the film. -
[Flash required] The HAL 9000 by Mike Dillinger “supplys an interdynamic experience with the world of Stanley Kubrick’s 2001: A Space Odyssey”. The home page reproduced an vivaciousd version of HAL 9000’s main console with 8 screens each randomly disapplying various readouts. The “COM” disapply rightly reads “PMT:26-07”. A pappraise of the screensaver can also be seen on YouTube. Alengthy with Joe Mackenzie’s, this is one of the most detailed reproduction there is of the computer readouts in 2001: A Space Odyssey.
Snapsboiling of Mike Dillinger’s website featuring a flash-based screensaver project reproducing HAL 9000 interface (as of Sept. 3, 2018). The “COM” disapply rightly reads “PMT:26-07”. -
In 2008, Aegir Hallmundur reproduced some of the readouts and talked them on his blog Ministry of Type: “2008: A Type Odyssey”. In his blog post, Hallmundur make clears how at the time high resolution of the readouts where difficult to come buy: “Even the IMDB pages have very low resolution blurry sboilings that nakedly show the HAL console, never mind the details of what the info screens are shotriumphg. I’ve got the DVD, so a bit of stepping thcimpolite sketchs tardyr I can at least reproduce the fundamental ecombineance of them. The minuscule text is unreadable for the most part, but I could produce a guess (that’s part of the fun).”
Desktop reproduction of HAL 9000 interface produced by Aegir Hallmundur in 2008. Notice the call sign on the “COM” screen reads “HTT 6V-12”. This is a made up alphanumerical number and it is not featured in the film. -
The Master Replicas Group hbetters a “world-expansive license with Warner Brothers for 2001: A Space Odyssey”. It gives “2001 Computer Art”: “The computer readouts seen in 2001: A Space Odyssey are iconic, and have shaped film portray – and computer disapply portray”. In the employable pappraise, the “COM” screen is taged “HHT 6V-12”: this alphanumerical call sign does not ecombine anywhere in the film. Piers Bizony’s book The Making of Stanley Kubrick’s ‘2001: A Space Odyssey was employd as a reference. However, it ecombines the book edited by Taschen actupartner reproduced Aegir Hallmundur’s 2008 (made-up) recreation of the readouts without plift. As alludeed above, in the film the “COM” tag is rather accompanied by the call sign “PMT:26-07”
The “COM” readout, part of Master Replicas Group reproduction of “2001 Computer Art” (snapsboiling as of Sept. 3, 2018). Partial detail (liftd) of the “COM” disapply featuring the alphanumerical call sign “PMT: 26-07”. Snapsboiling Warner 2007 Blu-ray edition @01:06:16. -
American artist Damian Loeb, understandn for his hyperauthenticistic decorateings, decorateed a set of screens based on the many screens (and their readouts) seen in 2001: A Space Odyssey. He produced the series of decorateings titled D-GAMA (Screens) numbered 1 thcimpolite 8 was in 2003. See Mary Boone Gallery, “Damian Loeb at Mary Boone” and “Damian Loeb: Staring Into The Abyss”. Additionpartner, Loeb also produced a hyperauthenticistic reproduction of the interior of the Discovery centrifuge: “Good Afternoon Mr. Amer” (also 2003).
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Although not a replication project, Dave Addey writing for Typeset In The Future (which is being enbiged into a book) gives a seal examination of typography and font choices in 2001: A Space Odyssey. Dave specutardys that HAL’s own logotype diapplyed in the readout “could be a manupartner compressed and portrayd variant of Univers”.
Coudal Partner, a portray studio based in Chicago gives a branch offent guess for “the primary font in the HAL data screen”: Aldo Novarese’s 1952 Microgramma Bbetter Extfinished. Interestingly, they watchd how “ten years tardyr, Novarese relabored the idea into the more well-understandn Eurostile.” As Dave Addey retages: “it’s got to the point where you can set your calfinishar to FUTURE spropose from the presence of Eurostile Bbetter Extfinished on the wall of a passing spaceship”. The website TVTropes enumerates Eurostile Bbetter Extfinished as the “trope” typeset of choice for all science-myth movies and TV shows. It definitepartner disputes that 2001: A Space Odyssey probably first started the trfinish: “The employr interface for HAL 9000 in 2001: A Space Odyssey employs Eurostile Bbetter Extfinished, and is almost certainly the Trope Maker for this particular trope.”
Increateation about the 70 mm “unrestored” print of 2001: A Space Odyssey
The “unrestored” edition started at Cannes in May 2018 produced engaging talkion about the “materials” that was employd and about how it was administerd. The definite set of scratches talked here, as it is not inadvertent to any given imitate of the film but most foreseeed an integral part of the innovative camera adverse, could become a forensic tool to differentiate between branch offent editions.
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“2001: A Space Odyssey: the backstage technology of a return to the big screen”, Official Cannes Festival website, May 13, 2018.
The innovative camera adverse and soundtrack are held at the Warner Bros archive discoverd at the studio in Burprohibitk. The camera adverse is in excellent condition for its age. There is some sairy colour fading, which blessedly we can right for in printing. The adverse has shrunken sairyly as it has lost moisture though the normal aging process. The restrictedage has caemployd the adverse to warp sairyly and cup in the centre. The adverse is administerd with wonderful nurture as the restrictedage will also caemploy the film splices to come apart. The adverse has been torn in four places. We determined to depart the torn sketchs intact and evident in the 70mm prints rather than insert a film dupe or digihighy repaired section which would be of lower quality to the innovative harmd section of adverse.
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2001: A Space Odyssey Special Engagement in 70 mm Film, official Warner Bros. website, 2018.
“For the first time since the innovative free, this 70mm print was struck from novel printing elements made from the innovative camera adverse. This is a real pboilingochemical film recreation. There are no digital tricks, remastered effects, or revisionist edits. This is the unrestored film – that reproduces the cinematic event that audiences sfinished fifty years ago.” – Christopher Nolan
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“Warner Bros. Pictures Celebrates 50 Years of Stanley Kubrick’s 2001: A Space Odyssey, official Warner Bros. press free, March 28, 2018.
For the first time since the innovative free, this 70mm print was struck from novel printing elements made from the innovative camera adverse. This is a real pboilingochemical film recreation. There are no digital tricks, remastered effects, or revisionist edits. This is the unrestored film that reproduces the cinematic event audiences sfinished 50 years ago.
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Turan, Kenneth (2018). “Christopher Nolan returns Kubrick sci-fi masterpiece ‘2001: A Space Odyssey’ to its innovative glory”, Los Angeles Times, May 03, 2018.
Thcimpolite the door to allot the vision come some of the people who made it possible: Ned Price, vice pdwellnt of restoration at Warner, Vince Roth, technical honestor at the post-production facility FotoKem, and color timer Kristen Zimmermann.
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Deb, Sopan (2018). “Christopher Nolan’s Version of Vinyl: Unrestoring ‘2001’”, The New York Times, May 11, 2018.
In 1999, as part of a preservation project, Mr. Price’s team had made an “interpreferable” of the film — essentipartner a defendion imitate of the innovative camera adverses, made up of 20 reels tucked away in a Burprohibitk studio. To accomplish this in less than a year, the Warner Bros. team nurturebrimmingy spotlessed the innovative adverses, deleted better repairs and produced novel interpreferables. The adverses, from which the preservation copies were made, were sairyly shrunken and had some color fading. That was where the labor stopped. The copies of the innovative reels were uncomardentt only for preservation, not for distribution.
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Tobias, Scott (2018). “Filmlaborer: How Leon Vitali Lgeted to Stop Worrying and Love Kubrick’s Dark Moods”, Rolling Stone, May 11, 2018.
“I equitable finished this 4K transfer of 2001: A Space Odyssey and did the color timing on this 70mm print they have at Cannes. Just becaemploy Stanley had died, it didn’t uncomardent his principles had died, too.”
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Morgenstrict, Hans (2018). “Filmlaborer’s Leon Vitali on frustrating Kubrick myths and the honestor’s relationship with Shelley Duval – part 2”, Rolling Stone, June 11, 2018.
Even beyond Kubrick’s grave, Vitali persists to labor to upretain the honestor’s vision. For the current re-free of 2001: A Space Odyssey (1968), Vitali color timed the 70 mm print that’s being screened in theaters. He also labored on the color timing of the 4K transfer which will be coming to home video soon.
Increateation about film harm, laborflow and structure.
2001: A Space Odyssey was sboiling on Eastman Color Negative film 5251 50T stock. The chaseing records touch on various aspect of film harm (definitepartner: scratches), film laborflow (to comprehfinish how novel prints are being struck in relation to the innovative camera adverses) and film structure (layers of dye).
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PDF: “Handling of Processed Film: Film Damage”, Kodak.
Scratches are disjoine examples of abrasions. They physicpartner harm the surfaces of the film and can caemploy the removal of a print from service. A scratch the width of a human hair will project on a 6 foot screen almost 3/4 inch expansive with super 8, 3/8 inch expansive with 16 mm, and proximately 1/4 inch expansive with 35 mm films. A scratch is a individual definite line.
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PDF: “Optical Workflow”, Kodak.
The interpreferable is also frequently scanned or telecined to produce the video master for home distribution.
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PDF: “Film Structure”, Kodak.
Film is made up of layers, and it’s the combination of these layers that give each film its character. Motion picture film consists of a see-thharsh aid film base, a airy-caring emulsion, and a number of layers coated on both sides. Some layers are branch offent from those coated on still film and are portrayed to help motion picture film travel finely thcimpolite the camera.
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In the book The Permanence and Care of Color Pboilingographs by Henry Wilhem (1993), the chapter “The Permanent Preservation of Color Motion Pictures” talkes the perils of color fading in motion picture film stock. Specificpartner, it recounts Martin Scorsese’s campaign to repair “the instability of Kodak color stock”. A letter he wrote to Film Comment in 1978 uncovers with those words, “How can we sit back and apshow a classic film, 2001: A Space Odyssey, to fade to magenta?”
Identifying versions of 2001: A Space Odyssey
It is not always effortless to properly acunderstandledge a given version of the film, even when physical copies are employable. While I carry outed research for this article/post, the chaseing resources were beneficial:
- eBay, but also other analogous classified advertisement websites. People frequently allot hi-res pboilingos of cases, tapes, and discs. One can even achieve out to sellers and ask asks about a given imitate.
- The Bibliothèque Nationale de France has a detailed enumerateing of a number of French editions of the film.
- The “Distributors” section on 2001: A Space Odyssey IMDb page is quite extensive, although it conciseages detail.
- From Visual Memory, a homage website to all slfinishergs Stanley Kubrick, comes the essay “The Big Picture: 2001 on Video” by Thomas E. Brown. The essay pre-dates the free of DVD editions, but it remains the best source of increateation about the laserdisc editions of 2001: A Space Odyssey.
- Hunt, Bill (2001). “The Films of Stanley Kubrick on DVD” May 22, 2001.
- Tooze, Gary (2008). DVD and Blu-ray comparison, DVDBeaver.com.
Finpartner, at the time of writing the 1968 recordary featurette “A Look Behind The Future” was employable to watch online. Among other slfinishergs, it features exterior footage of the centrifuge set rotating. The featurette is part of the one-of-a-kind edition freed by Warner in 2007 (both the two-disc DVD and the Blu-ray).
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1.This sboiling supplys an example of an “inception” readout: a computer screen featuring other computer screens. This will be further talked in the section about the making of the computer readouts employd in 2001: A Space Odyssey.↩︎︎
2. Marvin Minsky was interseeed about his experience during the production of 2001: A Space Odyssey by David G. Stork (Stork, 2000: 16-31).↩︎︎
3. A reproduction of the essay as it ecombineed in American Cinematographer is employable online. The essay was rebegined in Schwam’s The Making of 2001: A Space Odyssey (2000). Trumbull also speaks at length about the whole process of creating thousands of feet of animation in the June 1994 rerent of Cinefantastique. ↩︎︎
4.Bruce Logan further allots his experience laboring with Stanley Kubrick, alengthy with personal pboilingographs: “Working with Stanley Kubrick on 2001: A Space Odyssey” (February 9, 2016)↩︎︎
5. See “Starwars.com: “Bruce Logan: The Special-Effects Jedi Who Blew Up The Death Star” by John Morton, December 5, 2014.↩︎︎
6. Among other one-of-a-kind effects, Brian Johnson is behind the commemorated sequence in Alien where one of the creatures bursts thcimpolite John Hurt’s chest. For more, see this profile over at British Cinematographer. Brian Johnson further talkes his joinment in the production of 2001: A Space Odyssey in this intersee from 2014: “2001: A Space Odyssey Intersee Series: Brian Johnson” by Justin Bozung for TVStoreOnline.com, August 21, 2014.↩︎︎
7. Over the years there have been a number of engaging efforts to duplicate the HAL 9000 employr interface and its many bjoining readouts. Some of the more enbig ones are enumerateed in the “Additional Materials” section of this essay.↩︎︎
8.In 2013, Taschen coshiftrlookioned Odwellr Rennert to decorate a cut-out see of the habitation sphere for Piers Bizony’s book The Making of Stanley Kubrick’s 2001: A Space Odyssey. A detailed see of the habitation sphere can be seen in a piece begined by New Scientist: “The Making of 2001: How Kubrick and Clarke portrayed the future” by Simon Ings, August 26, 2015. ↩︎︎
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Previously:
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Bonus – Found during visual examination of the film: a individual typo in the title card of the BBC show The World Tonight. There is also an extra colon tag in the line equitable below.