Tema: The Wire (Serie TV)

Pues parece que la edición en HD aparecerá el 26 de diciembre en HBO GO y en versión bluray en verano de 2015.

In the six years that have passed since the conclusion of the HBO series The Wire, the critically acclaimed drama has turned into a worldwide phenomenon that has been hailed as “one of the best and most original series on television in decades” by the New York Times. Now, new and old fans of the series can watch the show like never before thanks to a brand new High-Definition upgrade of all 60 episodes, which will debut in December on HBO Signature® and HBO GO®. The Wire: The Complete Series will be available to own on Digital HD Monday, January 5, 2015 and on Blu-rayTM in Summer 2015.

The entire series has been beautifully re-mastered in 16x9 Full-Frame HD from more than 8,000 reels of original 35mm camera negative, allowing for a tighter fit on widescreen TVs and computer/tablet screens. The original negatives were scanned, edited, dust-busted and color-corrected with great care and attention taken to stay true to the look and feel of the original Standard-Definition 4x3 version.

The Wire: The Complete Series in HD will be available for the first time as a full series purchase at iTunes, Google Play, X-Box Video and Vudu on January 5. Individual episodes and seasons will be available through all of HBO’s Digital HD retailers.

To celebrate the HD launch, HBO Signature will air the entire series consecutively, one season per day starting with season 1 on Friday, December 26 at noon. The marathon will wrap with season 5 on Tuesday, December 30.

This will be the first time The Wire has aired on a linear HBO channel since Season 5 wrapped in 2008, as well as the first time that all five seasons of the entire series have aired consecutively on the network.

All 60 episodes will also be available in HD on HBO GO starting December 26.

http://tvbythenumbers.zap2it.com/201...e-wire/334713/

Pues menos mal, porque en el BF tuve en mis manos la caja en dvd por unos 32€, pero pensé en el BR futuro y la dejé
Compra segura, a ver si es mundial como los soprano, porque tengo mis dudas de que la traigan.
Saludos

Pues creo que editarla en 16:9 es un error cuando el creador de la serie dijo que desde el primer momento se pensó para 4:3 y que incluso le parece un error que HBOGo la ponga a disposición en 16:9.

La mejor serie de la historia, por fin en HD. QUE GANAS.

Que buena noticia, con paciencia todo llega, espero que la saquen por aquí, ya que siendo HBO, tenemos alguna posibilidad que incluya castellano. Seguiremos esperando mas noticias sobre la edición...

Iniciado por tatoadsl

Pues creo que editarla en 16:9 es un error cuando el creador de la serie dijo que desde el primer momento se pensó para 4:3 y que incluso le parece un error que HBOGo la ponga a disposición en 16:9.

Totalmente de acuerdo. Es como volver a los tiempos del DVD en los que se nos recortaba el panorámico para que la imagen llenase toda la pantalla cuadrada.

Esta serie fue creada teniendo en cuenta que iba a ser mostrada en 4:3 y las composiciones están pensadas para ese formato. David Simon lo deja bien claro en el artículo que publicó ayer respecto a The Wire en HD (http://davidsimon.com/the-wire-in-hd/):

At which point, Bob set about to work with 4:3 as the given. And while we were filming in 35mm and could have ostensibly “protected” ourselves by adopting wider shot composition in the event of some future change of heart by HBO, the problem with doing so is obvious: If you compose a shot for a wider 16:9 screen, then you are, by definition, failing to optimize the composition of the 4:3 image. Choose to serve one construct and at times you must impair the other.

Because we knew the show would be broadcast in 4:3, Bob chose to maximize the storytelling within that construct. As full wide shots in 4:3 rendered protagonists smaller, they couldn’t be sustained for quite as long as in a feature film, but neither did we go running too quickly to close-ups as a consequence. Instead, mid-shots became an essential weapon for Bob, and on those rare occasions when he was obliged to leave the set, he would remind me to ensure that the director covered scenes with mid-sized shots that allowed us to effectively keep the story in the wider world, and to resist playing too much of the story in close shots.

Similarly, Bob further embraced the 4:3 limitation by favoring gentle camera movements and a combination of track shots and hand-held work, implying a documentarian construct. If we weren’t going to be panoramic and omniscient in 4:3, then we were going to approach scenes with a camera that was intelligent and observant, but intimate. Crane shots didn’t often help, and anticipating a movement or a line of dialogue often revealed the filmmaking artifice. Better to have the camera react and acquire, coming late on a line now and then. Better to have the camera in the flow of a housing-project courtyard or squad room, calling less attention to itself as it nonetheless acquired the tale.

In the beginning, we tried to protect for letterbox, but by the end of the second season, our eyes were focused on the story that could be told using 4:3, and we composed our shots to maximize a film style that suggested not the vistas of feature cinematography, but the capture and delicacy of documentarian camerawork. We got fancy at points, and whatever rules we had, we broke them now and again; sometimes the results were a delight, sometimes less so. But by and large, Bob had shaped a template that worked for the dystopian universe of The Wire, a world in which the environment was formidable and constricting, and the field of vision for so many of our characters was limited and even contradictory.

Y ya no es sólo que añadiendo más imagen a los lados se pierdan los encuadres originales. Es que al no haber protegido el panorámico las actuaciones de los actores fuera del cuadro original en ocasiones no son las adecuadas, e incluso a veces aparecía gente del equipo técnico o material del rodaje. Para tapar estas cosas han tenido que recurrir a recortes, zooms, redimensionados, retoques digitales, etc.:

But there are other scenes, composed for 4:3, that lose some of their purpose and power, to be sure. An early example that caught my eye is a scene from the pilot episode, carefully composed by Bob, in which Wee Bey delivers to D’Angelo a homily on established Barksdale crew tactics. “Don’t talk in the car,” D’Angelo reluctantly offers to Wee Bey, who stands below a neon sign that declares, “burgers” while D’Angelo, less certain in his standing and performance within the gang, stands beneath a neon label of “chicken.”

That shot composition was purposed, and clever, and it works better in the 4:3 version than when the screen is suddenly widened to pick up additional neon to the left of Bey. In such a case, the new aspect ratio’s ability to acquire more of the world actually detracts from the intention of the scene and the composition of the shot. For that reason, we elected in the new version to go tighter on the shot in order to maintain some of the previous composition, albeit while coming closer to our backlit characters than the scene requires. It is, indeed, an arguable trade-off, but one that reveals the cost of taking something made in one construct and recasting it for another format. And this scene isn’t unique; there are a good number of similar losses in the transfer, as could be expected.

More fundamentally, there were still, upon our review, a good hundred or so scenes in which the widening revealed sync problems with actors who would otherwise have remained offscreen, or even the presence of crew or film equipment. These scenes, still evident in the version that HBO originally intended to broadcast several months ago, required redress.

No sé cuanto mercado ganarán con esta versión alterada, pero yo no pienso apoyar este tipo de decisiones comerciales que no hacen más que destrozar el trabajo original de los creadores.

Estoy con el compañero sros al 100%, y me parece que el problema lo resume perfectamente el propio Simon casi al final de ese texto (las negritas son mías):

At the last, I’m satisfied what while this new version of The Wire is not, in some specific ways, the film we first made, it has sufficient merit to exist as an alternate version. There are scenes that clearly improve in HD and in the widescreen format. But there are things that are not improved. And even with our best resizing, touchups and maneuver, there are some things that are simply not as good. That’s the inevitability: This new version, after all, exists in an aspect ratio that simply wasn’t intended or serviced by the filmmakers at the moment that that camera was rolling and the shot was being framed.

Demos gracias que aún queda gente como él que entiende el valor de preservar la integridad artística de una obra, que no es un mero azar ni un capricho intercambiable por condicionantes comerciales a posteriori; el valor de preservarla siempre, pero más aún cuando los responsables midieron en su día cuidadosamente cada decisión tomada para darle forma.

Edito: El propio Simon ha publicado una nueva versión de su post, ahora actualizada con videos que ilustran varios de sus apuntes.

Comparto lo que decís y lo que dice Simon, claro. ¿No parecen los colores muy fuertes en la versión HD?

Por cierto, al ver la comparativa del final de la segunda temporada... qué gran personaje Frank Sobotka.