SFI & The Daily SME (frame 429)

SFI & The Daily SME

Reviewed by dvdfreak

Last modified on Monday 17th August 2020, 08:39:54 PM

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Label:  SFI & The Daily SME (Slovakia)

Region:  1, 2, 3, 4, 5, 6 & 8
RCE protection:  No
Copyright protection system:  None

Disc type:  DVD5 (the data occupy 4.27 GB)

Playback time (hh:mm:ss.frames):  1:37:25.14

Video:  PAL
Aspect ratio:  1.33:1 non-anamorphic

Bitrate (min / avg / max):  0.16 / 5.01 / 7.25 Mbps

Bitrate (min / avg / max)


Slovak Dolby Digital 2.0 mono* / 256 kbps
Slovak audio descriptive in Dolby Digital 2.0 mono* / 256 kbps

Subtitles: Slovak & English

Menus available in: Slovak & English

Special features:

  • Newsreel (12:24, in Czech & Slovak**)
  • About the movie (3 pages, in Slovak & English)
  • Press coverage (2, resp. 3 pages, in Slovak & English)
  • Biographies (in Slovak & English)
    • Josef Mach (2 pages)
    • Ivan Bukovčan (2 pages)
    • Karol Krška (2 pages)
    • Tibor Andrašovan (2 pages)
    • Martin Ťapák (3 pages)
    • Heda Melicherová (2 pages)
  • Photogallery (8 movie stills)

  • 16-page booklet (in Slovak)

Notes: This film is a part of the "Slovak Cinema of the 40's & 50's" DVD edition
(released by SFI & The Daily SME), which also includes:

The disc starts with the SFI logo, followed by an ad for Klapka.sk. The latter is actually a short interview with Emília Vášáryová (1:00, in Slovak), who speaks about her role in Eduard Grečner's "Drak sa vracia" ("Dragon's Return").

From SFI's press release:

The "Slovak Cinema of the 40's & 50's" edition was supposed to be released last year [2010] already, however, given the physical condition of these older titles and the complexity of the restoration work, it was moved to this year. All the films in this edition are thus brought to the viewers in a high quality presentation with restored picture and sound. Because of the extensive print damage, the complete digital restoration took two whole years, the most difficult part being the image restoration. The colour grading on "Šťastie príde v nedeľu" was done by its own cinematographer Vladimír Ješina, who, as a close collaborator and friend of Paľo Bielik, corrected also "Kapitán Dabač" and "Štyridsaťštyri". The grading on "Čert nespí," also shot by Vladimír Ješina, was, due to Ješina's health problems, done by Peter Csordás. For the other films, whose cinematographers are not among us any more, the work was delegated by the Slovak Association of Cinematographers to Stanislav Szomolányi ("Katka," "Rodná zem," "Štvorylka," "Dáždnik svätého Petra") and Vladimír Holloš ("Varuj...!," "Vlčie diery").

Ladislav Dedík from Studio 727, who participated in the digitalisation and restoration of the films, describes the process: "The films we worked on were heavily damaged due to their age, quality of film stock, and the technological processes used in production and the creation of film prints. Because some of the films were used as propaganda material, the numbers of prints made were considerable, each new copy further damaging the original negative. In case of the war films, the authentic World War II archival footage used differed from the rest of the material in terms of grain structure and the amount of print damage. These parts made the restoration process much more difficult. The most frequently appearing types of damage were dust, dirt, splices, tramlines, scratches, tears and breaks, instability, gate hairs, jumps in grain density, and even missing frames. The most effort-demanding titles were "Varuj...!," "Vlčie diery," "Kapitán Dabač" and "Katka." To give you a better idea, while there were 1.5 million blemishes on average in each of the films in the previous edition [Slovak Cinema of the 60's], the majority of titles in this edition contained more than 20 million. This fact is the reason why some of these films took over a year to restore."

Do you remember that scene in "Rocky Horror Picture Show" where, after the "unconventional conventionists" finish their "Time Warp" number, Brad cautions Janet that "they may do some more... folk dancing"? Well, this film is like that, only more so... (c:

Anyway, regarding the master used here: I was quite surprised to see the kind of "drop-outs" (the first three examples below) where a bunch of missing frames (17, 17 and 12, respectively) is replaced by a "blank clip" - was there really no alternative to that, no intact print available? (Note that audio keeps playing during those brief moments of blackness.) The last two examples are basically the same issue, but there the audio must have been missing too as no blank frames were inserted:

16329 / 16347 | 49290 / 49308 | 77508 / 77521 | 110990 / 110991 | 126676 / 126677

SFI & The Daily SME (frame 16329)

On the plus side, the compression is a little better than usual:

SFI & The Daily SME (frame 49966)

*difference between channels is -81.74 dB (0.01 %),
resp. -80.99 dB (0.01 %)
**subtitled in Slovak & English

Česká verze / Return to index

SFI & The Daily SME

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