Beatles 1964 footage colorized, "And I Love Her", "Tell Me Why". I don't hate it...

The IKEA Beatles.

 

I'd like to see the whole movie like that - then decide.

I'm happy if I never do though as the black and white is that cool.

 

I don't hate it either. Really, most people wouldn't know it was fake anyway.

 

It looks Duophonic.

 

Thanks...I thought I remembered it having something to do with frame rates.

Apart from the slower speed, are the film mixes unique, as you seem to imply? Or are they simply the standard mono mixes, which I believe are single-tracked in several places where the stereo ones are not (e.g., the "If I Fell" intro).

 

Looks ok, but a bit off. I've never seen a perfect colorization, but Bewitched got it pretty damn close.

I wish someone would colorize the Ed Sullivan appearances, just to see them differently and what they might of been like in color.

 

Could you be more clear with your thoughts

 

something new to watch of the Beatles...It was cool, but I like the original...I'd watch a complete colorization if it was available...I did not feel threatened by this.

 

well we got to see stills of their appearances in color on the Ed Sullivan Show on the Beatles Bubble Gum Cards! they looked spectacular then! THE BEATLES CARDS IN COLOR! loved the box !

 

It's fine....my inner nostalgian isn't effected at all. Everyone under spotlights has the skin tone of a mannequin, even the Fabs.

 

Why sugar coat it?
Please tell us what you really think.

 

Just to be pedantic, the "standard" mono mixes do vary from the mono film versions AND the stereo versions. The film producers used slightly different mixes from what George Martin had produced for Parlophone records, and United Artists put those alternate film mixes on their version of the soundtrack — "And I Love Her" appears with a single-tracked vocal there, because that's all UA had the rights to release (and Capitol also used it for their 45 single and the Something New LP; presumably they didn't bother asking for the Parlophone mix, they just copied UA's tape), but both mono and stereo UK album mixes have the double-tracking. As our host implied, neither is more "correct" but they are unique.

 

What colour's your puke?

 

Oddly enough, it's black and white.

 

I first saw this posted by Stevie Riks on Facebook, I thought for sure these were done badly, on purpose, as a joke. I laughed out loud when I saw the repeated shots of the modern control room equipment.

 

not sure if i like it. it's very..."clean."

 

Me Too!
I don't see what would be the harm in having a well done colorized version of it available. There were color pictures taken on the sets, so it would be easy to get a lot of the colors right.

 

Me neither. A WELL DONE colorized version would be great. THIS is SO BAD it looks like it was done in 1981 by an incompetent chimpanzee.

 

I liked the "artificial" look of it but did they need to cut in the 24 track tape machine? They got the black and white monitors right, why add technology from the 1970's and 80's? The LCD controller (on a top of a different and modern recording console) was a bit much as well.

 

Yes, a 2" 24-track sitting smack dab in the middle of 1964. Long Live Magic Alex!!!!!!

 

Maybe they could convert Help! to B&W and tint it green.

 

yes! finally the director will have his way! but, it must be on BR!

 

Didn't Alex want to build a 72 track machine? Alexis pulled a fast one over John. It's a real shame as his REAL friends were trying to tell him that Magic Alex was a massive con artist.

From Wikipedia:

Mardas often said that the Abbey Road studio was "no good", much to producer George Martin's annoyance: "The trouble was that Alex was always coming to the studios to see what we were doing and to learn from it, while at the same time saying ‘These people are so out of date.’ But I found it very difficult to chuck him out, because the boys liked him so much. Since it was very obvious that I didn’t, a minor schism developed". Mardas boasted that he could build a much better studio, with a 72-track tapemachine, instead of the 4-track at Abbey Road—which was being updated at the time to an 8-track—so he was given the job of designing the new Apple Studio in the basement of Apple headquarters in Savile Row. One of Mardas' more outrageous plans was to replace the acoustic baffles around Starr's drums with an invisible sonic force field. Starr remembered that Mardas bought some "huge" computers from British Aerospace, which were stored in his barn, but "they never left the barn", and were later sold as scrap metal.
Mardas gave the Beatles regular reports of his progress, but when they required their new studio in January 1969, during the Get Back project that became Let It Be, they discovered an unusable studio: no 72-track tape deck (Mardas had reduced it to 16 tracks), no soundproofing, no talkback (intercom) system, and not even a patch bay to run the wiring between the control room and the 16 speakers that Mardas had fixed haphazardly to the walls. The only new piece of sound equipment present was a crude mixing console which Mardas had built, which looked (in the words of Martin's assistant, Dave Harries) like "bits of wood and an old oscilloscope". The console was scrapped after just one session. Harrison said it was "chaos", and that they had to "rip it all out and start again," calling it "the biggest disaster of all time." Harrison's suspicions of Mardas' competence had been raised when he saw him wandering around in a white coat with a clipboard, and considered the possibility that Mardas had "just read the latest version of Science Weekly, and used its ideas". Mardas later stated that he had never been in the basement of Savile Row, as the studio equipment he was building was being tested in Apple Electronics, at Boston Place, Marylebone.