I think I remember reading this one a long time ago. I thought it was liquid latex of something like that.
Close, but not quite a complete answer. Trivia question still stands.
I think I remember reading this one a long time ago. I thought it was liquid latex of something like that.
That's ok, we can have multiples going on at the same time.
Besides, your question's too hard![]()
As for your question Adam H, it was bones.
Has James Remar been replaced with Michael Biehn?
Despite a couple of minor caveats, I feel confident in saying that fans of the films are going to be absolutely delighted with the four AVC 1080p encodes served up by this Blu-ray boxsets.
Alien gets the ball rolling with a frankly stunning 2.40:1 presentation that is packed full of fine detailing and deep blacks that give the corridors of the Nostromo a truly three-dimensional sense of depth. From the stark white of the hyper-sleep chamber in Chapter 3 to the interior of the derelict housing the calcified 'space jockey' in Chapter 11, every frame of the film looks immaculate and retains a wholly filmic look thanks to the decision to let the inherent grain remains and not resort to noise reduction to smooth it out. It's enough to have even the most hardcore AV tech-head forgetting all about their treasured D-Theatre copies of the film.
But even with all of that in mind, the biggest surprise the set has to offer is Aliens' remastered 1.85:1 encode. Cameron has gone on record several times about his unhappiness surrounding the new high-speed negative used during filming, which resulted in an excessively grainy look to the picture that always looked ropy on VHS and DVD. And more recently he gave an interview about having 'de-noised, de-grained' the film for Blu-ray, leading some to worry about another appalling Predator-style DNR job.
Well, worry not. The remastered Aliens encode is a thing of incredible beauty, where some kind of noise reduction tech has been used to clean the image, but not at the expense of fine textures and shadow detail, while still leaving an extremely filmic patina of grain throughout the film. It's a remarkable piece of restoration that wholly deserves the plaudits that it will undoubtedly pick up around the world. Now if only Cameron and his team could let the rest of the industry know how he did it, then waxy, over-scrubbed encodes might be a thing of the past.
He needs to cut from the stunt head to maybe a shot of Ripley's face fiddling with it, THEN to the shot of Holm's head instead of just fake head to Holm's head.