Anyway, I wanted to dig into this when the article first came out, but my books are buried in containers, and I wasn't digging into them until today, so better late than never I guess. I saw a few people rightly pushing back against this in the quotes, but not as many as I would've thought.

But I will say it's disingenuous to discuss capturing computer images onto film as a compromised process, then at the end of the article calling it "...the version Pixar originally intended to make", as if the old film prints are the "true" version of the film.

I'm not even going to get into all the ways that color negative film is not this objectively neutral, ultimate version of an image that film and nostalgia fetishists make it out to be — there are plenty of articles worth reading that disprove the notion both in motion pictures and still photography.

I don't have the Aladdin art book (did they make an art book?), but I do have Mulan, and here are production stills from that art book compared to this 35mm/blu-ray comparison. This book was published in 1998. Pic 4 is the back cover, you literally don't even need to open the book to compare these!

Disney's had a (deserved) bad reputation for restoring their films with oversaturated colors for 20+ years, but that doesn't mean vivid colors were verboten, as these production stills show (also from the Lion King art book, again from 1994). Which version do you think these more closely resemble?

I like reading about studios figuring out how to transfer computer images to film before digital projection became a thing, but this article is just pandering to nostalgia/analog fetishists and based on a 30+ year old, non-archival, worn-out and faded film print, and nothing else.

It's not much more detail, but Holmes Chan (who is HK-based) mentions some tidbits here: sg.news.yahoo.com/hong-kong-be...

Other than that, great experience! Hope I don't need to go back until 2026.

All these years I just assumed Black Friday was part of the holiday hell season with Costco crowds, but nope, I was pleased to see it relatively quiet — aside from the entire store's computer system going down right as I was paying for my stuff and I had to wait 30–40 min. while crowds formed. 😅

They pick and choose the moments to go hard rather than trying to make every shot stand out. Helps me think about the big picture which is important when you're directing AND boarding AND designing AND animating, etc... Not everything can or should be at 11 all the time.

Sorry, I saw that after posting and catching up on the timeline. 😅 Glad everyone's safe though!

P.S. — hope you and everyone you know is safe from the Tai Po fire!

So we had a nice chat about L.A. and HK, and I got what I wanted for a meal while the waitress gave me a well-deserved stink eye. 😅 I'm sure they live far away from the hubbub of the protests, but I still think of them sometimes, hoping they've stayed safe.

I screwed up ordering breakfast at a cha chaan teng in Kowloon, and as I debated about bothering the waitress b/c I know little Cantonese, an elderly couple sitting next to me asked me what was wrong and helped out as translators. Turns out they're from L.A. too, but live in HK to help the parents.

I was just thinking the other day about getting back to my Shin-Chan backlog — between this thread and a Spoon & Tamago post about a Nara art teacher who made Shinnosuke leaf art, I'm taking these as signs telling me what to watch this morning.

spoon-tamago.com/hamacream-fa...

Of course those sites are just doing PR work for the different distributors/publishers, so...low-hanging fruit to pick on them with, but still.

The folks at ANN and similar sites don't really follow world politics unless they see someone like Bloomberg report on a cartoon-related issue first, then they just regurgitate what the original reporting said.