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So this is a brand new out of The Doors:
Live at the Hollywood Bowl.
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We went back into the vaults,
and we got the original footage
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and it's all been re-edited
by a magnificent editing team.
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So this is the only film in which the majority
of songs, if not all the songs, were filmed,
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and we have a complete soundtrack.
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Well, not only is this our only complete performance,
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there are several tunes that we don't normally do.
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The complete version of Spanish Caravan,
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for the first time, never before seen,
never before heard.
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And we do a part of the Celebration
of the Lizard and Texas Radio.
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But we don't do... We do it in a sort of
a jazz groove. Not the way it's on the record.
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It's got a brand new version of Hello, I Love You.
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The complete version of Hello, I love You.
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Yeah, I'm pleased that Hello, I Love You is on there
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because I worked real hard on that sucker.
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Hello, I Love You. We didn't have it at all.
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We had just the faintest vocals, so we couldn't...
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- Jim's microphone went out for some reason.
- Right.
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Jim's microphone went out.
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It was working in the house,
but it wasn't working in the truck.
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So we didn't have any vocal.
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In order to make it work for this video,
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I was able to go to other performances,
live performances,
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like Pittsburgh or Philadelphia or Boston
or New York or Los Angeles
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and take words here and there of him actually singing
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and sync it in there so that it works sync-wise,
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and, otherwise, you wouldn't
be watching this video today.
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At this moment I'm on...
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Well, we're recording, I'm frantic
trying to get any vocal to happen at all.
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And as you can hear in this track,
the vocal's cutting in and out,
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and I'm switching from Jim's track to Ray's mic,
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trying to make something, anything, happen.
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So, as you can see here, each one of these is an edit
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of cutting Jim's vocal into picture.
35
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So this was a case we didn't have Ray either,
for some reason we didn't have Ray.
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So I had to manufacture Ray.
37
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So, taking that away,
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we can play Jim and Ray... Play the same sound.
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Inserted the band into this whole thing.
40
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So, from nothing to something.
41
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Bruce Botnick was able to recreate
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and dig out of those tracks Jim Morrison's vocal,
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and you hear it as if you were at the Hollywood Bowl
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onstage with us, practically.
Certainly in the audience.
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Same thing held true on Texas Radio and the Big Beat.
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I was able to go grab some of his poetry
from other live performances
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and put it in place and some outtakes
from the L.A. Woman album
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and of just him and put him in and it worked.
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There was probably nobody any more
amazed than me that it worked.
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Here is a segment of Texas Radio
that has microphone issues.
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They were cutting in and out
and there's crackles in there.
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Let me zoom in and you can see one
in particular. There's three.
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One, two, three, four, five crackles.
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So let's...
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Using a decrackler, I'm going to go here
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and I'm going to remove them, the crackles.
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Look at that wave form, it's beautiful.
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And for all intents and purposes, they're gone.
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Versus...
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Now I feel that I've done these tricks
and it shouldn't be a surprise to anybody.
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We owe it to the fans to tell them.
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And I've found that by telling them
that I'm doing this and why,
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they're happy because otherwise
they'd be without those three songs.
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And it's not to pull the wool over anybody's eyes,
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it's just to give you a full
and complete performance.
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And a good one.
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The difference in the sound
between a hall and the Hollywood Bowl
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is a build-up in the bottom end
and the room tone that you hear
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because in an arena,
like let's say Madison Square Garden,
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you hear the room. It adds to
the overall sound and the character.
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The Bowl, because it's outdoors, it can't build up.
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The bottom end doesn't build up,
anything like that. So it's quite clear.
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The bottom. I was really concerned about the bottom.
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How's that bass?
How's that left-hand bass doing and... Man...
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- Make it sound good - It sounded great, yeah.
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Because we only recorded
with two audience microphones,
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those became the surround tracks.
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So we had the surround...
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We had a little bit of audience pickup
in Jim's mike or in John's drums,
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and when I spread it all out into surround
81
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I also used a impulse response reverberation program
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to effect what it would be like
to be outside at the Bowl
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because the recording in itself was very dry.
It didn't have any dimension to it.
84
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So by doing that I could create a larger environment,
85
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a cycle acoustical environment.
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It's a little bit of smoke and mirrors,
but you have to do that.
87
00:09:42,374 --> 00:09:45,294
John Albarian, a superb video editor,
88
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went and he transferred all the film
very carefully to high definition,
89
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took that film and, using the audio,
free-sunk everything up.
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By looking at the picture,
where if you can get one frame right,
91
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you could maybe take another camera
and lock it in, and as John Albarian said,
92
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"Thank God for John Densmore
93
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"because his drum beats, when they
were close enough, got us in sync."
94
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Because no time code, no 60 hertz,
95
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no nothing, even no clappers like that.
96
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So that was amazing.
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When I got the picture and I watched it,
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and then I realised that some of the audio
that I had chosen of Jim
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on the three songs where he was missing wasn't right.
100
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And I also found, listening to his voice
leaking into the surround tracks,
101
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that they were the wrong melody, too,
because he was singing different.
102
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So I had to go find, from various performances,
103
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from all the different cities live,
find a word here and there
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that had the proper note and the right inflection
105
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and put that in.
106
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And then I delivered that back to video,
107
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and video would go, "Oh, my goodness.
Now we know it's there, we're out of sync."
108
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And I'd say, "Yeah, do you have another shot?
109
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"Because I can't make it work with your picture.
110
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"Do you have a cutaway or a two shot
or something from behind
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"that we can cut away from Jim,
112
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"so that we can re-sync
just for those couple of words?"
113
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And John was able to effect that.
114
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Judging at the video that I've seen so far,
115
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and I haven't seen the HD, on a big screen let alone,
116
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it looks pretty damn good.
117
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I'm excited because I know
what it originally looked like,
118
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and 16 millimetre, it didn't look too good.
119
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It goes from the old ratio
120
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of 3:4, 4:3, to widescreen.
121
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And usually when people go
from standard size format to widescreen,
122
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it squashes the people and they all
look squat. Or you cut off their heads.
123
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None of that happened, it's like a miracle.
124
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How did it go to widescreen? How did it do that?
125
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I don't know, digital.
126
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Digital.
127
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Digital, it just blew the whole thing up.
It took that and enlarged it
128
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and kept Jim's head where it's supposed to be.
129
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It did not cut off the top of his head.
Did not make him look squat.
130
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Our heads do look a little fatter, I think.
131
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Do they?
132
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Which is not a bad thing.
133
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Well, mine is always fat. I've always had a fat head.
134
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I could watch it all night, man.
It just looks so good.
135
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I've seen most of the footage before,
but it's always on a little editor or something.
136
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And, man, it just blew me away,
how great it looks and sounds.
137
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I just want to get it out there so people can see it.
12311
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