DVDizzy Forum

The good thing is they managed to make the flesh tones look natural for the Platinum release. What I'm also very happy about is the fact that they managed to keep the lines from getting thin. They look much smoother and not as sharp as the previous release.

In the Platinum Edition, Peter Pan's costume looses every trace of Lincoln green in the final battle with Hook:



EDIT: I'm sorry this picture disappeared. Please go to http://www.the-trades.com/article.php?id=5284 to see the original screen cap of Peter Pan fighting with Hook.

I would call this colour "goldenrod" if the word "pukish" didn't also come to mind...

Yea I noticed that soo bad too! I was like what happend to his outfit! it looks like a yellow grossness! I wonder why?? I was so excited Lowry did this release but now Im beggining to wonder.

Dig this:

Platinum Edition:

Go to http://www.the-trades.com/article.php?id=5284 to see the original screen cap of Peter Pan fighting with Hook.

Reproduction (Sericel) of original production cel:


(From: http://www.acmeanimation.com/wkspcl62098.html )

The problem, though, is we can't really rely on the original cels. The animators knew that what they painted would register as something different on film. They had a color chart that helped them out so that they could paint something in a certain hue, knowing it would come out the way they really planned when transferred to film. I've seen original Alice in Wonderland cels that show her with greenish yellow hair because that would register as light blonde via the Technicolor process. Stuff like this even applied to live-action films. Dorothy's ruby slippers in The Wizard of Oz were a dark scarlet in real life because if the slippers were created in the same shade of ruby red we see in the finished film, it would've registered as orange via Technicolor. Cels (and especially sericels that usually differ from original film cels) can't be trusted because the ink and paint department had different intentions than what they actually painted.

Disneykid wrote:The problem, though, is we can't really rely on the original cels. The animators knew that what they painted would register as something different on film. They had a color chart that helped them out so that they could paint something in a certain hue, knowing it would come out the way they really planned when transferred to film. I've seen original Alice in Wonderland cels that show her with greenish yellow hair because that would register as light blonde via the Technicolor process. Stuff like this even applied to live-action films. Dorothy's ruby slippers in The Wizard of Oz were a dark scarlet in real life because if the slippers were created in the same shade of ruby red we see in the finished film, it would've registered as orange via Technicolor. Cels (and especially sericels) can't be trusted because the ink and paint department had different intentions than what they actually painted.

I honestly don't think it was anybody's intention to have Peter Pan appear in a wilted corn colour in his climactic scene, do you?

Here is a sericel signed by Frank Thomas and Dale Oliver, the animators of Hook and Peter Pan: