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Digital Destruction

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The Predator Ultimate Hunter Edition Blu-ray: Now with a waxier Ahnold.

Ah, digital restoration and remastering — a wonderful thing, really. It cleans up the picture quality, restores faded colors, gets the hisses and pops out of the soundtrack, but it's an expensive, time-consuming process. It's expensive, takes a long time, requires careful attention and care... and did we mention it was expensive?

Digital destruction is often the result of people in general having the tendency to want to just get the stuff out as quickly as possible, all with a "digitally restored/digitally remastered" label stamped on it to maximize profits. Or worse, they didn't even know what harm they were doing to begin with; often the available tech is deceptively difficult to get good results from. As anyone who actually understands digital image processing will tell you, things like noise reduction and grain removal are actually really hard to do without at least some loss of detail (which can range from subtle to distractingly obvious), to the extent where preserving film grain is almost universally considered the better option among videophiles (at least in the west; in Japan, audiences tend to prefer removing the grain to "modernize" the visuals, to the extent where preserving it is bound to result in Internet Backdraft over there, thus resulting in grain removal being a very common move in anime remasters).


Digital Destruction comes in several forms and can vary-from oversharpening to flat-out erasing lines of artwork in cartoons, removing whole sounds or dialogue, oversaturating the colors, patterns (fuzzy electrical patterns scattering around an image or drawing), increasing the contrast, overzealous grain-smoothing that unintentionally gives the picture a smudgy, synthetic appearance, etc. Animation tends to be a particularly big victim of this when it does happen, largely because the reliance on fine details in both lineart and backgrounds lends to automatic processes very frequently mistaking these details for dirt and wiping them off.

All the same, stuff like this happens a lot with restored older films and especially older cartoons... and on occasion, this even happens (or happened) to newer cartoons (as mentioned by Ed, Edd n Eddy creator Danny Antonucci here).


This happens with digital remasters of music as well. The most commonly known phenomenon is mastering at the volume levels of modern music, creating excess limiting and distortion that sacrifice the cleanliness, clarity and overall dynamics of the sound, but there are plenty of other destructive practices used as well. These include drastic alterations of the frequency equalizationnote  that don't suit the source material, excessive noise reduction that sucks much of the detail and life out of the recording, and overuse of synthesized harmonicsnote  which replace the organic feel of the original recording with a cold, mechanical one.

Naturally, this is a great source of contempt for collectors, purists, and even the common customer alike (the ones that are savvy enough to be aware of it, anyways). It's the total opposite of a "great" restoration, in a nutshell.

The Trope Namer is this article from John Kricfalusi's blog, in which he feels the restorations of old cartoons are actually ruining them, rather than making them better. (The specific issues he complains about result from over-zealous application of certain adjustments, namely color saturation and sharpening.)

Compare Remaster. For the video game equivalent of this trope, see Porting Disaster. For the musical equivalent, see Loudness War. May also tie into Bad Export for You. In particularly bad instances of this, to preserve the way the footage originally looked you gotta Keep Circulating the Tapes. Also see Visual Compression, George Lucas Altered Version.

Not to be confused with destruction caused by digital entities.


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  • Funimation and Toei Animation are notorious in the anime home video domain for being repeat offenders with the Dragon Ball franchise:
    • The Dragon Ball Z "orange brick" season sets by Funimation is one of the most egregious example. They were "restored" by cropping, oversaturating, and using too much Digital Video Noise Reduction (DVNR); while leaving all the dust and scratches on the film intact. Funimation's marketing even lied about some of the changes, like representing the original footage on the DVD extras using some of the remastered footage with artificial grain added; they also were convinced that viewers would enjoy 10% of overscan instead of 25% of the original image. Fans were outraged because not only were Japanese DVDs remastered frame by frame from the original 16mm film negatives (35mm in the case of the movies and a few episodes of the Frieza saga that were produced that way), but this was the first consistent video release by Funimation (FUNi had actually cancelled the final releases of the previous DVDs to make way for the new remastered sets).
      • Dragon Ball Z Abridged uses the Orange Brick sets for the first season, which combined with the 2008-era video production and compression causes the whole season to look very ugly. Season 2 onwards uses the Dragon Box set, causing the show to look much better as a result.
    • The Dragon Ball and Dragon Ball GT season sets also had some DVNR and saturation problems, as well as the picture being significantly zoomed in (albeit it none of it was anywhere near as bad as the DBZ problems). Also, for some reason Funimation decided to half the frame rate of Dragon Ball movie 2 for the remastered box set release, resulting in an incredibly jumpy picture.
      • In addition to everything else, despite the DB and GT sets being billed as "Remastered", DB actually uses the same broadcast videotape masters as FUNi had been using since the 1990s, just blurred and zoomed in, and GT is the rather good Japanese "Dragon Box" remaster FUNi had used as their base video master since they acquired the series in 2003. For all the faults of the "Orange Brick" DVDs, they at least did fresh transfers of their film masters for that release; DB and GT are just a worse version of what many fans already owned on DVD.
    • For a little while it looked like Funimation were finally going to release a lasting, properly remastered version of the series with their surprisingly well-transferred Blu-ray "Level" releases, but these were put on hold after just two volumes.note  Two years later, Funimation began releasing Dragon Ball Z on Blu-ray. This time with cropped video, over-saturated colors and noise reduction, all far more aggressive than before. According to former Funimation employee Lance Heiskell, the company ignored the results of a survey in which the majority of fans voted for the Blu-rays to be in the original 4:3 because their past 16:9 releases sold better.note  Perhaps most infuriating of all, various evidence (primarily the way all the dirt, scratches, and most of all, tape marks were removed) indicates they actually did all the work of finishing the "Level" releases, but they applied the ugly filtering anyway, despite overwhelming fan outrage against this filtering, and overwhelming fan support for the "Level" style of remastering.
    • While the quality of the remasters for Dragon Ball Z Kai are largely up to debate,note  opinions on Toei's in-house remaster of The Final Chapters are much more unanimous, with many criticizing how the remaster seems to take a lot of cues from Funimation in terms of being aggressively degrained and cropped to 16:9 widescreen; Toei also received a lot of criticism for the picture featuring a noticeable green tint compared to previous releases.
    • Toei's remasters for some of the Dragon Ball Z movies have sparked some controversy for being censored on the Blu-ray release. Not only that, but they seem to sport a green tint like the Kai: Final Chapters remasters. It seems Toei's restoration staff are apparently fond of remastering the series like that rather than using the correct color palettes and without censorship.
      • In addition to the censorship, the Blu-ray releases of the movies suffer from some very heavy DVNR, with the second Coola movie in particular being comparable to Funimation's work on the Z series. Thankfully, pre-DVNR, uncensored versions of all of these appeared on Amazon Prime and Netflix in Japan prior to the Blu-ray releases, and have remained there ever since.
    • In 2019, Funimation announced a 30th anniversary set, promising 4:3 finally after almost 10 years since the Dragon Boxes first started coming out. However, despite being 4:3, the picture still suffers from the same DVNR and colour problems that make the video so butt-ugly and so far removed from the artists' original intentions, it can't be called a restoration. FUNi certainly didn't help themselves by doing a blog post where the raw images they posted from before their ugly filtering look a ton better than the "remastered" images.
    • The American release of Dragon Ball Super: Broly has the above-mentioned green tint applied to the Blu-ray and DVD; however, the UK Blu-ray and DVD averts this.
  • Some early BD upscales of newer digitally animated anime suffered from loss of detail due to heavy-handed DVNR. The poster child for this is Samurai Champloo, which FUNimation tacitly admitted to when it was re-mastered for a later re-release (this new version was good enough that is was also used on the Japanese BDs).
  • The 25th anniversary of AKIRA overall is pretty good, but the blacks in the movie can be pretty inconsistent in color, also showing electrical distortion in some of them, giving some scenes a compressed look.
  • When Funimation rereleased Tenchi Muyo! in Love as part of a box set with the other two Tenchi films on Blu-ray and DVD, they ended up releasing a version of the film that has horrific color-correction issues. All of the blues have been turned green (which also affects Sasami and Kiyone's hair colors; Lord knows how Funimation overlooked that), the sepia-toned scene near the start of the film has been turned piss yellow, and somebody seems to have punched up the color quite a considerable amount, making the whole film eye-gougingly bright. Pioneer Entertainment's original 1996 THX LaserDisc and 1997 DVD release, however, had none of these issues, being a direct transfer from the original film negatives. For those interested, here are some comparisons.
  • In 2014, Viz Media announced that they would become the first studio worldwide to release Sailor Moon on Blu-ray. Since the 16mm film elements for at least the first two seasons no longer exist, they had to work with the same masters used for Toei's 2009 Japanese DVDs. Unfortunately, comparisons between the first set of Blu-ray Discs and these DVDs reveal the former to have more DNR and ghosting. Additionally, Viz's DVDs encoded the 4:3 picture into 16:9 with black bars on the left and right sides, making it appear low-quality by even DVD standards.
  • Most season 1 videos of Corrector Yui circulating today are unfortunately derived from rebroadcast prints that are cropped to 16:9 from the original 4:3.
  • 8th Man had the same problems that effected both The Transformers (Unnecessary 5.1 sound effects) and Dragon Ball ("restored" picture) when the English dub was released on DVD.
  • The English dub of Speed Racer suffers this since Speed Racer Enterprises took over the rights in America. Basically, the footage in some of the episodes are rendered in PAL format and the audio itself can sound slightly pitched shifted. The only episodes that don't have this issue are the ones included in the 1993 "Speed Racer: The Movie". note .
    • The framerate was fixed when Funimation released the series under their belt, but their release has very noticeable audio glitches. "The Great Plan" in particular has the first part obviously time-compressed with a noticeably higher pitched audio from Speed Racer Enterprises, and part 2 has a noticeable drop in the audio during the recap. Episode 5 (The Secret Engine Part 1) also suffers a noticeable audio blip in the first minute and a half of the episode. And the audio for a majority of the episodes is still pitched shifted from Speed Racer Enterprises.
  • While visual remastering for Studio Ghibli's back-catalog has always produced gorgeous results (up to and including preserving film grain), Kiki's Delivery Service seemed to get the short end of the stick on the audio department in 2010. Specifically, it had its 1998 dub tweaked for its North American DVD re-release that year, reverting the music to match the Japanese version, and removing some dialogue that were Filling the Silencenote . Unfortunately, what dialogue does remain now sounds as hard-to-hear as if the characters spoke through a fan. The fact that the edit is the only version of the English dub included on home media releases since 2010, including the more recent DVD and Blu-ray releases by GKIDS, only worsens the situation. Consequently, the 2003 Disney DVD, the only official home media release of the uncut 1998 dub from the post-VHS era, has become highly coveted.
  • On the first episode of Digimon Adventure 02 (at least on the Netflix prints), if you look closely at the first few seconds of the episode in the top left corner, you can see a TV-Y7 screen bug obviously blurred out. The opening intro is also cut out as well.
    • Similarly, most of the Adventure episodes have tons of DVD artifacts on the Netflix versions of them. At least two of them (both the second part of two-parter episodes, including the Grand Finale) similarly cut the intro.
  • Ghost in the Shell has been released on Blu-ray twice in North America, both times with issues. The first release primarily showcases the heavily altered 2009 cut of the film with the original version included as a bonus feature, but in very poor quality, seemingly sourced from an outdated master. The more recent "25th anniversary edition" features a fresh HD transfer of the original cut, but suffers from a botched sound mix full of missing effects and inaudible dialogue, as well as new subtitles which are awkwardly written and full of typos. In 2020, a new 4K Ultra HD Blu-Ray was released, which fixed the previous version's sound mix and subtitles, only to add a new audio flub by using the English release's end credits theme by U2 (under the pseudonym Passengers) on both the English and Japanese audio tracks, whereas past releases only had the Passengers theme on the English audio track and the original credits music on the Japanese audio.
  • The American, British and French Blu-ray releases of Re:Zero were criticized by several reviewers for having visible color banding and compression, which is quite egregious for a release of a 2016 anime.
  • Pokémon:
    • Pokémon: The First Movie got a 1999 remaster in Japannote  that expands on Mewtwo's origin, redraws many of the visuals in CG and desaturates the color balance in order to give the movie a much darker and menacing tone. While the question whether the CG visuals look better or not is a hot debate within the fandom, few agree that the color change was a good thing.
    • Pokémon Heroes suffers from an intense blue tint, which made all the colors darker. Averted with non-4Kids versions (eg. the original Japanese) which have accurate colors instead.
    • The US Blu-Ray release of Indigo League has a filter applied to it to make it "look HD", and very few fans noticed. On the other hand, the Australian/UK releases are worse.
    • The first three movies came to DVD and Blu-Ray in Australia (in Widescreen) months before they would in the US. The US Blu-Ray is a similar case to the above.
  • The French Blu-Ray release of Children of the Sea has a heavy case of color banding on par with the aforementionned Re:Zero releases. In an anime film produced in 2019.

  • A related phenomenon in the comic book industry was Theakstonization. To do reprints of pre-computer comics, you needed the original monochrome lineart so you can recolor using modern techniques. For many old comics, that art no longer exists — the only thing available is the actual comics. Therefore, you have to copy one of the comics and remove the color. Prior to the 1990s, the only economic way of doing this was to cut the pages out of an original comic, and bleach the color out, thus producing monochrome art. This process actually destroyed the originals, and could apparently reduce grown men to tears. In many cases, though, the cheap paper the books were printed on was crumbling away due to age, and it was a rock and a hard place situation; destroy the physical book or risk the content being lost forever.
  • Another way of digitally destroying old comics is to scan them at an inadequate resolution - that way lines will become pixellated and jagged when printed. Ironically, the problem becomes worse the better paper you print on, as a hard, high quality paper soaks up the ink less than a pulpy one. Some of this occurred in the Finnish completed works of Carl Barks.
  • EC Comics: Some of the color reprints of the horror comics tended to completely alter the original colors and add elements that clearly weren't in the original comic art, such as photoshop gradients. They wised up and started using the original colors in later reprints.
  • The 1990's reprint of the old Felix the Cat comics, Felix Keeps on Walkin, deliberately altered the original artwork, redoing all of the colors digitally and adding gradients that weren't in the original art, and its linernotes even blatantly snark about how they removed bits of the original artwork, such as the expressive cartoon spark lines that pop up around Felix's head.

    Film — Animated 

Non-Disney Examples

  • The Yellow Submarine "Director's Cut" restoration by Miramax, like many modern Disney-related restorations, tries to lighten, brighten, or saturate colors; after all, if you're trying to clean up a color cartoon, you don't want dingy colors, do you? This would be a minor problem, except that it was done everywhere — including scenes in Meanie-occupied Pepperland. Yes, "faded color = grey" is starting to become a film convention; but it wasn't one back then, and even the hints of medium pastel are somewhat distracting to anyone who doesn't yet accept the convention. The 2012 Blu Ray release amended this by painstakingly cleaning up every frame individually.
  • The 70th anniversary DVD and Blu-ray release of Max Fleischer's Gulliver's Travels was "restored" by not only cropping the footage into widescreen note  but also using a muddy, blurry, badly DVNRed transfer! The 60th-Anniversary Winstar DVD release uses a far better transfer, but that version suffers from digital interlacing.
    • The Winstar DVD also had a "restored" version that was aurally altered, with a new stereophonic soundtrack. The sound effects were redone, and the results were not seamless, such that one can painfully tell the difference between the mono and stereo versions without comparison!
    • Averted with Thunderbean's 2014 Blu-ray release, which is restored from a 35mm print to faithfully resemble its original theatrical release, such as keeping dust prints in shots, keeping the colors bright and even retaining rounded corners on the edge of the frame. See for yourself.
  • The "Bugville" DVD release of Mr. Bug Goes to Town was apparently a raw transfer from an old LaserDisc of the film, and it shows; marred by atrocious digital compression that makes it painful to even look at—you would think you were watching a bootleg of it, and it's supposed to be a official release! Fortunately, there is no interlacing and DVNR issues otherwise.
  • The DVD release of An American Tail was horribly tampered with. Background music and sound effects were changed or added, new voice-overs were inserted (which wasn't the bad part, since they seem to have come from the original recording sessions), and the orphans who bully Fievel near the end had their voices re-dubbed for unknown reasons.
  • All North American releases of The Brave Little Toaster, from the original V/H/S releases all the way to DVD, were taken from a worn-out copy of the film used for festival screenings rather than the original negative, resulting in the picture appearing to wiggle at the beginning. There is also some noticeable flicker in the image and a heavy amount of film grain. This particular print was also used for Japanese releases of the movie, as well as the 2009 Brazilian DVD. Astonishingly, the PAL releases are taken from a much cleaner print with none of these issues, which makes it incredibly baffling that this is still the case.
  • Jetlag Productions' version of "Snow White" is blurry and has tape distortion on the multi-pack DVD set, but oddly is fine on the single release by itself.
  • Olive Films' 2017 DVD and Blu-ray release of Rock-A-Doodle is noticeably higher pitched, due to MGM choosing to remaster the film from a PAL print.
  • A common occurrence with early computer-animated films (whether they be entirely made with computers or hand-drawn digitally) is that, whether the original data exists or not, the video transfers are always taken from film stock (most of the transfers were made back in the days of Laserdisc and early DVD, and were riddled with telecine wobble, dirt, and other artifacts). Examples of this include Toy Story, Antz, The Prince of Egypt, South Park: Bigger, Longer & Uncut, Titan A.E., and Jimmy Neutron: Boy Genius. Once Pixar released A Bug's Life and the first two Toy Story films on DVD using digital masters, other studios began following suit as well.

Disney Examples:

  • DVD and Blu-ray releases of the 1937-1989 entries in the Disney Animated Canon suffer from an odd variation of this. Rather than being direct re-scans of the master negatives, these releases are instead rotoscoped and recomposited frame-by-frame, color-corrected, and DVNR'd to remove any semblance of age — right down to the film grain. While this ambition is impressive in and of itself, the result is that each movie looks as if it's imitating the "look" of a digitally-animated film, and said imitation is a poor one at that, with finer details and even entire pieces of linework being scrubbed away in the process of this visual pseudo-modernization. This Twitter thread by Stephen Duignan goes into more detail about the process and its repercussions.
  • Pinocchio:
    • Curiously, in the 2009 DVD, Jiminy's lines "Right!" (just after the "If your whistle's weak" line) and "Look out, Pinoc!" from the end of the "Give A Little Whistle" song have been edited out—apparently this was the result of a sound mixing error, as the line can still be heard in the film's mono soundtrack, but not the remastered stereo soundtrack. Not an atrocity by any means, but anyone who has seen earlier prints of the film will take notice of this. Fortunately, as of April 2011, Disney started allowing owners of the Blu-ray to exchange their discs for copies with the line restored. Owners of the DVD, however, were outta-luck until 2017, when Disney accompanied Pinocchio's Digital HD debut with DVD/BD re-releases of the corrected print.
    • Additionally, the team restoring Pinocchio for its 1992 theatrical re-release used a print generations removed from the original camera negative. This resulted in the movie having an earthy color scheme, which carried on to all the home video releases of The '90s. When scanning the original negative for later DVD and Blu-ray releases, Disney reportedly found the picture to have a pastel appearance, which those releases more faithfully portrayed, but have the usual DNR problems mentioned above.
  • While most Disney films avoid using the DVNR process, the Most Wanted Edition DVD release of Robin Hood was an exception to the rule. While Disney is usually careful even when using the infamous process, the issue was that the film was made when Disney was using Xeroxing in place of hand-inked cels, and the itchy, hairy lines combined with a restoration process that is specifically designed to remove things it detects as scratches and dirt was a recipe for trouble. There are many obvious instances of linework and art erasing throughout this release. It's most noticeable in the opening when Robin is chatting with Little John and during the archery scenes, where the artwork of the arrows is frequently eaten away into nothing due to DVNR art erasing.
  • The Blu-ray and Digital HD versions of Aladdin: The Return of Jafar and Aladdin and the King of Thieves both have their original 1.33:1 aspect ratios cropped to 1.78:1. The latter was also cropped when it was released on DVD back in 2005, while the former thankfully wasn't.
  • The Lion King (1994)
    • When the movie was re-released in IMAX theaters, several scenes were altered and/or reanimated for unknown reasons, most noticeably the somewhat odd-looking crocodiles in "I Just Can't Wait to be King" to be more on-model and the waterfalls in "Can You Feel the Love Tonight?", but also a host of more minor (and therefore less complained-about) changes like Mufasa's face being redrawn as he sees Rafiki approach during "Circle of Life" or Scar turning slightly to watch Mufasa and Simba leave the elephant graveyard. Later DVD releases advertised a remastered version that would feature the reanimated scenes as well as a new song ("The Morning Report", originally from the film's Broadway adaptation) alongside the original 1994 theatrical version; unfortunately for purists, however, the so-called "original version" keeps the tweaked scenes from the IMAX revamp. It may not be that big a deal, but if you're an advocate for preservation...
    • For the 3D re-release and accompanying Blu-ray, not only did they retain the reanimated scenes, but at the end of the scene where Simba speaks to Mufasa's ghost (as Simba begs Mufasa not to leave), the giant cloud formation is completely missing. Records claim this flaw also existed in the IMAX version, but Disney corrected it for the original DVD. The cloud was ultimately reinstated in 2017, with updated re-releases of the Blu-ray and Digital HD editions. The DVD, sadly, still doesn't have the cloud.
  • In the original Cinderella, the titular character had orange hair and a silver dress. The DVD and Blu-Ray versions, however, have blatantly altered the colors to look a little closer to the Disney Princess merchandise (blonde hair and blue dress). The fairy dust and some fabric creases have disappeared from her gown, and some backgrounds were completely altered.
  • In the Blu-ray release of Fantasia, many colors look drastically different from the original DVD, often using Orange/Blue Contrast. Compare the DVD version of "Night On Bald Mountain" with the Blu-ray version and you'll see that, among other things, Chernabog has been changed from black all over to purplish-blue and faint orange. These comparisons suggest that for at least one segment, the DVD's color scheme deviates farther away from that used in 1940.
  • The Blu-ray of Beauty and the Beast has an unusual glitch altering the ending of the "There's Something There" number. Originally, it ended with the objects watching Belle and the Beast read by the fireplace. Since the extended version follows this song with a scene of the objects cleaning the castle, it now closed with the objects in the hallway, closing the doors to give Belle and the Beast some alone time. Selecting the "Original Theatrical Version" on the Blu-ray changes the ending of the song to the objects about to close the doors, but abruptly cuts to a different scene before they shut. Frustratingly, the corrected transition currently appears only on the 3-D Blu-ray.
    • The Platinum Edition DVD and the Diamond Edition 2-D Blu-ray and DVD all have different color schemes than the Walt Disney Classics VHS and LaserDisc before them, making fans fear that Disney tampered with the picture. The tones of the 3-D Blu-ray hew most closely to the Classics releases.
    • The restoration for the Platinum Edition removed a credit before the prologue for Silver Screen Partners IV, and some stuttering from the scene where Beast asks Belle, "You wan-you wanna stay in the tower?" The restoration for the Diamond Edition put both of these back in.
    • For some reason, the Blu-ray restoration also edits out Cogsworth's shocked gasps, when he, Lumiere, and Mrs. Potts rush to the scene when the Beast has been stabbed (after Gaston falls to his death).
  • On early pressings of the Diamond Edition Blu-ray for The Little Mermaid, the ending of the "Part of Your World" sequence plays differently than it originally did. Originally, after cutting from Ariel reaching her hand out towards the surface, it cut to her floating back down onto a rock, to Flounder looking sad. The early D.E. releases switch the latter two scenes' positions, resulting in an audio sync issue. Also, the scene transition when Ariel and Flounder go to visit Scuttle has changed from a dissolve to a cut. When Disney fixed these mistakes, they only did so on the Blu-ray, DVD, and digital download copies, not the 3-D Blu-ray Discs. A disc replacement program similar to Pinocchio's was also offered for Blu-ray and DVD copies of the film.
    • The Diamond Edition also makes some intentional but ill-advised changes, such as using at least the fourth different set of end credits the movie has seen, and changing the opening credits with drastically different timing, a new font, and the card reading, "In Association With Silver Screen Partners IV" absent. Like the Platinum Edition DVD before it, it also censors the minister's knee, due to some viewers of older prints thinking it looked like a Raging Stiffie. For the 1997 theatrical re-release, Disney replaced the "Part of Your World" instrumental with the normal version of the song, and changed the Dolby Stereo logo to ones for Dolby Digital, DTS, and Sony Dynamic Digital Sound. In 2006, Disney restored the original music, but not the Dolby Stereo logo. As of 2013, credits for the 3-D conversion appear even on 2-D prints.
    • The 2006 Platinum Edition DVD has a few unique instances of Digital Destruction (which have actually been undone on the Diamond restoration): the clamshells the sisters came out of were changed to green interiors, and Grimsby's hand at the start of the tour of the kingdom was removed.
  • The 2013 Blu-ray release of The Sword in the Stone snuffs out all the detail with the film looking like it has been rendered under a Photoshop Blur tool, completely killing the look of the drawings and line quality.
    • The Swedish dub of said film has, since the 2002 DVD release, only been available in a flawed 5.1 mix that causes the voices to sound enclosed, "canned" and with a lack of treble. The reason is because it was created out of the existing mono mix, as separate audio tapes for the dialogue had not been preserved (as with the case for many 1930-60's dubs in the country). Disney likely didn't want to spend money on or anger fans with a re-dub just for DVD and therefore went the emergency route with the release.
  • The Jungle Book
    • For the 1990 re-release audio mix (used on home video releases before 2007), three scenes are affected:
      • After Mowgli saves Bagheera from Kaa by kicking the latter out of the tree, there was originally music playing from when Mowgli snaps Bagheera out of the trance to when Kaa says "Just you wait 'til I get you in my coils!" The music was not only removed for some reason for the 1990 re-release audio, but somehow also not heard for the post-2007 editions. However, it can still be heard on some foreign-language dubs, particularly the ones made around the film's original release (or at least before 1990) including French, German, Dutch, Italian, Hungarian, Swedish, Danish, and Hebrew. Interestingly though, two of those dubs, Latin Spanish and Brazilian Portuguese 1968, ended up using the 1990 re-release audio mix for their home video releases (probably because the original speech recordings for those dubs were preserved).
      • When Baloo gets pelted with fruit by the monkeys, he yells "Now, just try that again, you—-!" but is interrupted with a pumpkin splatting in his face. Here, there is a piece of "reaction" music that plays when this happens. Oddly, this was heard not on the original theatrical version, but was used on the 1990 re-release audio mix instead. It is unknown if the music was originally intended to be included, but it's also not heard on the post-2007 DVD and Blu-ray editions either.
      • During "I Wanna Be Like You" while Baloo and Bagheera are talking, there is a trumpet solo that plays in the background. This was somehow not heard in the 1990 re-release audio mix (possibly due to editing problems), but can be heard on the soundtrack (and can still be heard on the many foreign-language dubs made before the 1990 theatrical re-release as well) and was also brought back for the post-2007 DVD and Blu-ray releases.
      • In terms of quality, the 1990 re-release audio version is clearly a stereo mix and sounds very clean and crispy compared to the other versions. The post-2007 audio mix used for the Platinum Edition and Diamond Edition Blu-ray uses some elements from the 1990 version, albeit slightly "mono-ized". Unfortunately, the 2007 audio mix also has a few continuity problems, particularly with "I Wanna Be Like You". During the first part of the song while Louie tells Mowgli he can help him stay in the jungle, the 1990 audio edit is used. However, when Louie begins singing "Now I'm the king of the swingers..." the rest of the instrumental is used from the original theatrical audio (since the 1990 version is missing the trumpet solo) and you can clearly notice the quality change.
  • The Roger Rabbit short Trail Mix-Up has its colours changed on the Who Framed Roger Rabbit Blu-ray. Stuff like Roger’s gloves and Jessica Rabbit’s hair are washed out while the backgrounds have a yellow tint to them. Also for some reason the beaver is changed from purple to grey. The unaltered version is on the 2003 Buena Vista DVD.
  • The Direct to Video film A Very Merry Pooh Year features a remastered version of Winnie the Pooh and Christmas Too edited into the film, but a couple changes were added during restoration. For starters, Rabbit's fur was changed from a green-ish tint, which is how he was depicted in The New Adventures of Winnie the Pooh, to his normal yellow color, and Christopher Robin's voice was re-dubbed by the voice actor who portrayed him in the film's bridging sequences. Unfortunately, this is the only way to watch the Christmas Too special on DVD. The original special still airs during the Holiday season on Freeform, but as of 2018, the re-dubbed lines of Christopher Robin have been added into the special.

    Film — Live-Action 
  • Dog Soldiers: The 2015 collector's edition Blu-ray by Scream Factory, while praised for its expansive supplementary material, was widely criticized for a near colorless, and very grainy picture transfer. Justified as director Neil Marshall (who worked alongside Shout! Factory on the Blu-ray), confirmed that they were unable to locate the original negatives at the time and had to use the best available sources for the new HD transfer.
    • However, in 2019 the original negative was finally located, allowing for a full 4K restoration from German company Koch Media.
  • The 2004 Star Wars DVDs, despite being billed as digitally restored, received terrible color correction, de-saturating the soft colors of the original films into darker, more realistic lighting, and much of the clarity and detail of the original prints is lost in the process. A comparison on YouTube that is no longer available claims this was the result of Lucasfilm ordering the color correction of the films to be done at a breakneck pace of 30 days. Darth Vader's lightsaber becoming pink and Luke's alternating between blue and green are particular standouts for ridicule.
    • To make matters worse, the only DVD release of the original theatrical cuts (released as limited edition extras) were completely phoned-in, raw transfers off old LaserDiscs of the films, which had excessive grain, low contrast, serious aliasing, and motion smearing.note 
    • Also, the Blu-rays releases for the original films are sourced from the same digital masters as the DVDs several years earlier, which are considered very dated by modern standards, as the scanning was performed in 1080p whereas most Blu-rays are sourced from much more detailed 4K, 6K, or even 8K masters. After excessive DVNR, those 1080p scans end up with decreased quality closer to 720p, making them well below standard for such high-profile releases.
    • The Blu-ray release of The Phantom Menace suffers badly from DVNR, destroying much of the picture and resulting in a more pink-tinged presentation.
    • The 4K restorations of the movies on Disney+ and the 2020 "Ultimate Collector's Edition" UHD sets zigzag this, fixing many of the color correction issues that plagued the previous sets, but still have severe DNR and are the Special Editions with even more changes.
  • Citizen Kane got an accidental taste of this. In one scene, outside the window there was supposed to be rain; the person in charge of the film's restoration thought it was excessive film grain, so it was digitally edited out of the restored print. Later, the Blu-ray boasted a new restoration, which brought back such details as the aforementioned rain.
  • The original Bela Lugosi Dracula film has an odd one — at one point when Dracula throws Renfield from the stairs, in the original he's supposed to scream. On some VHS copies (or LaserDisc?), the scream is either intact or removed, but on the 75th Anniversary DVD release the scream was once again cut out.
  • In Monty Python and the Holy Grail, the mock-Scandinavian subtitle for the movie's title was missing in some DVD releases. (Thankfully, the rest of the subtitles during the opening were still there.)
  • A Hard Day's Night has gone through at least two of these:
    • The first was more Analog Destruction as it happened in 1982, back when film restoration was a new idea. Universal wanted to spruce the film up for a U.S. theatrical re-release that year, and those handling the transfer elected to convert the entire soundtrack to stereo on the theory that stereo is better than mono. (Modern fans of The Beatles strongly disagree, but the fandom was still redeveloping back then.) To cap it off, the restorers then threw out the original soundtrack, making a legit restoration impossible.
    • There were then two further attempts to restore the film, in 1996 and 2001. The 2001 restoration by Miramax deliberately tried to "improve" on the theatrical release. While the use of a modern theatrical aspect is understandable (the film did briefly air in modern theaters), they could've made the original aspect available on the DVD. It used the controversial 5.1 speech/mono song soundtrack (by this time, stereo would've been the best quality possible due to the 1982 restoration). And while we can't be sure that 2001's picture is less faithful than 1996's (if we could, then we wouldn't need film restoration as much), it's clear that they're using different greyscale keys. The 1996 edition frequently has what looks like light reflecting off smoke in the air (which may or may not have been in the original); the 2001 edition removes that and deliberately goes for chiaroscuro.
    • Thankfully, The Criterion Collection came to the rescue in 2014, releasing a 4K restoration approved by director Richard Lester on both DVD and Blu-ray. Not only did the release restore the film's original aspect ratio, it also contained a mono soundtrack.
  • As seen in the picture above, the second Blu-ray release of the original Predator (from around the time Predators came out in theaters) relied so heavily on DNR, the movie boasts no grain, and Arnold Schwarzenegger has a strange wax look at points. The premiere of The Predator saw the original debut in 4K Ultra HD, with a transfer that restored the missing textures and grain.
  • West Side Story suffered this a few times. The first DVDs released changed one of the color shifts in the overture from red to blue, to red to green to blue, and also lost the whistles that played after the Quintet. The latter change made the part where the screen changed from intense shades of red and black, to normal colors, in time with the whistling, look even stranger than it originally did. On the Special Edition DVD, the whistles returned, but the "Tonight" sequence plays with the audio out of sync. The 50th Anniversary Blu-ray featured a restoration which corrected the syncing, but also has a flaw in which the screen briefly turns black during the red-to-blue color shift of the overture. The distributors of the Blu-ray announced that they would fix this flaw in the near future, but their "fix" also leaves some people unsatisfied; the color change doesn't look as smooth as those that occurred during the rest of the overture. This video shows how smoothly the colors changed on the CBS/FOX LaserDisc, while this showcases the transitions featured on the successive DVD and Blu-ray versions.
  • Mary Poppins
    • The 2004 40th Anniversary Edition DVD featured an "Enhanced Home Theater Mix" audio track, which tampered the audio quite a bit, with nearly all of the sound effects replaced, and a few bits of new music added where there originally wasn't any. (Obvious examples include the wind when Mary Poppins is sitting on a cloud, the "poof!" noise when Mary, Jane, Michael and Bert jump into the chalk drawing, the thunder and lightning before it starts raining on the chalk drawing, and the fireworks following the "Step in Time" number.) Sadly, this version was also used whenever ABC Family would air the film. Fortunately, Disney released a new DVD in 2009, the 45th Anniversary Edition, with the new sound effects gone, and ABC Family's subsequent airings also use the original sound track. Additionally, the 2013 50th Anniversary Edition has an "Enhanced Home Theater Mix" that resembles the original soundtrack.
    • Sadly, the 50th Anniversary Edition had DVNR and line smoothing applied to the animated sequences, although the live-action scenes fortunately retain the grain.
  • Vertigo fell victim to something similar for its 1996 restoration. Universal had the audio remixed into six-channel DTS by dubbing new sound effects into the original music and dialogue.note  However, by the time Universal decided to restore the movie again, for its 2012 re-release and Blu-ray debut, technology had evolved to a point where they could remix the soundtrack while keeping the original sound effects.
  • The Back to the Future Trilogy had scenes that did not require special effects filmed in 1.37:1, and matted to 1.85:1 for theatrical and LaserDisc release. Unfortunately, the initial batch of DVDs for Back to the Future Part II and Part III matted some of these scenes in a manner that cropped out important details (such as the size-adjustment button and retractable sleeves on Marty's 2015 jacket). Thankfully, Universal began a disc replacement program that addressed the framing errors, and later pressings used the fixed prints.
  • A mild example with E.T. the Extra-Terrestrial on Blu-ray that exposes some Special Effects Failure. The movie looks great but in some wide shots, like when Elliot introduces E.T. to Michael, you can tell it's a guy in a costume. It's apparent because in the next shot it's the expressive E.T. puppet, and the costume has a mask with a blank stare.
  • The Little Shop of Horrors Director's Cut DVD lacks audio of the Greek Chorus singing the word, "Da-doo!" during Seymour's radio interview, as well as Orin wheezing before he dies. Plus, a dissolve after Seymour feeds Orin to Audrey II plays faster than before. None of these alterations occur on the Blu-ray.
  • Shock Treatment has soundtrack issues on its DVD. In the original cut, the end credits are underscored by a reprise of the overture, and once they've rolled the screen goes to black for several additional minutes while the single version of "Shock Treatment" plays (inspiring a stretch of jokes about the void in Audience Participation showings). This was preserved for the original VHS release through Key Video (a sub-division of Fox's video arm in the 80s that mainly released cult films like this one, as well as newer titles, 40's films, drive-in movies, etc.), though they stuck in the standard FBI warning image before going to black, while Fox Movie Channel airings just cut the music-only stretch. The DVD release's soundtrack jumps ahead to the second half of the overture when the credits start, so the single version of the song starts up midway through them and fades out as they end, meaning that neither is heard at their original length. Making matters worse, the end credits — particularly the photos of the actors — are clearly timed to the overture in the original cut, so an amusing touch is lost on the DVD.
    • Synching/transferring issues with the original music causes a very noticeable audio drop towards the end of "Denton U.S.A." on the DVD.
  • The Extended Cut Blu-ray of The Lord of the Rings: The Fellowship of the Ring ended up having a slight green tint added to the film. There's been massive debates over whether this it was Peter Jackson's intent or not, or if the tint was actually even noticeable. For what it's worth, neither Jackson nor Warner Bros. have actually addressed the topic. The 4K debut of the film saw the green tint removed.
  • The King and I
    • The 2014 Blu-ray has a bluer tint compared to previous home video releases.
    • The 1981 LaserDisc of the same film not only loses major details to Pan and Scan, but also uses an overly yellowed print similar to the 1977 VHS.
  • The 2008 release of Patton on Blu-ray had a smudgy look to the picture, caused by overuse of DVNR. A remastered version appeared in 2012, which fixed the problem.
    • The Longest Day was released on Blu-Ray the same year and has similar problems with DNR. Unlike Patton, there hasn't been a corrected version.
  • Gladiator's original Blu-ray release was overly sharpened, with very inaccurate colors. A remastered version was released in 2010, which managed to fix these problems.
  • When the Police Academy film series was prepared for Blu-ray, it proved to be a huge challenge to improve the picture quality, which up to then had been horrendous. They actually did manage to make huge improvements by accessing the original negatives and the movies do look a lot better. However, the BIG exception is the third part. Even though it originally didn't look worse than the third, the movie was put through a horrible DNR-orgy. The end result is as disastrous as it is amazing; everything now looks like a huge watercolor painting with next to no detail left.
  • The 2010 Blu-ray release of The NeverEnding Story featured a noticeably different colour timing from previous home video releases of the film. Many scenes in Fantasia have a distinct orange tint to them, and the whole thing in general looks much darker. This change was subject to several multi-page forum debates over which version had the correct colour timing.
    • The film later received a remastered German Blu-ray release of the original German cut in 2012. Though the release featured the previously unavailable English audio track for the German version, the picture was turned up way too bright, and ruined by overzealous DVNR, resulting in waxy skin textures.
    • A couple of years later, Warner Bros. released a new "30th Anniversary Edition" Blu-ray of the film. Though it was advertised as "newly restored", it uses the exact same transfer as the aforementioned 2010 release. Fans were not happy.
  • The Godzilla films have gotten hit with this at times:
    • Classic Media's 2002 DVDs of some of the older films featured "5.1 surround sound'' audio tracks in addition to the original mono versions. The 5.1 tracks turned out to just be the mono tracks blasted out of all five speakers at slightly different times, created a headache-inducing echo as though the movies were recorded inside a garbage can. The company's later releases of those films wisely just included the mono tracks.
    • The TriStar-issued DVDs feature new, digitally-created title cards for some of the older films. They generally have digital reconstructions of the English title cards with trademark icons added to the monsters' names, while others keep the original English title card but add the icons, or feature entirely new titles (Godzilla vs. the Sea Monster). The Heisei films usually retain the Japanese title cards with digitally-added English subtitles, but the newer films have new, very dull English title cards awkwardly plastered directly over the Japanese titles, which are often much more elaborate and beautiful (though this is the work of either Toho's export department or the Hong Kong company that dubs the films). This one takes the cake. Sadly, with the release of the Blu-rays, this tendency now also applies to Godzilla vs. Spacegodzilla and Godzilla vs. Destoroyah.
    • The transfer of Godzilla (2014) used for the DVD and standard Blu-ray is, for reasons that remain unclear, much darker and murkier than the way the film looked in theaters, rendering many of the nighttime scenes nearly indecipherable. The most infuriating thing about it is that the ads for the DVD and even the clips shown in the special features on the disc look fine, as does the transfer used for the 3D Blu-ray, yet Warner Bros is doing nothing to fix the problem. The 4K Blu-ray release in 2021 averts this, utilizing a new transfer that brings the color grading about 1:1 to the theatrical release, which would later be carried over to all digital releases as well.
    • King Kong vs. Godzilla's Japanese version was re-released multiple times in the 60's and 70's to the Champion Festival - a children's film festival in Japan. Toho edited the film's run time down to make it more tolerable for the younger audience, slicing up the original negatives in the process. The film's first Japanese home video release sourced those formerly lost scenes with a 16mm print, but a 35mm print was located in the early 90's only to be lost as well. Future releases sourced the LaserDisc release with the lost scenes being located once more for the Blu-Ray release. Most recently, Toho commissioned a 4K restoration in 2014 with the initial missing footage finally recovered from the first reel. The restoration was broadcast on TV and in theaters in the summer of 2016. The Japanese cut's US debut on the Criterion box set would only use the earlier 2008 Blu-Ray restoration.
    • The British Film Institute's DVD of Godzilla (1954) doesn't make things worse by trying to fix them. Instead, it just doesn't fix anything. The disc seems to have been scanned from a very tired print, with many scratches and cue dots. note 
  • The 1998 20th anniversary DVD release of Halloween featured a transfer approved by cinematographer Dean Cundey, with the daytime scenes graded with a strong brownish-orange tint to suggest an autumnal atmosphere and the night scenes bathed in deep blues. When the film received an HD telecine for the 2003 25th anniversary edition DVD, it was done without Cundey's involvement and the color timing was completely changed to a much more neutral appearance, removing both the orange and blue tints for an image that was technically more realistic but not in line with the film's artistic intent. This was just the first in a series of issues and debates regarding transfers of the film...
    • The 2007 Blu-ray release was sourced from the same telecine as the 2003 DVD, but the color timing was tweaked in an attempt to address some of the criticism — again without the filmmakers' involvement. A slight brownish tint was added back to some of the daylight scenes, and a bit of the blue was restored to at least some of the night sequences, creating an overall look somewhere in between the two DVD transfers.
    • For the 35th anniversary Blu-ray in 2013, the movie was given a brand-new scan with the transfer supervised and approved by Cundey. You'd think this was a slam dunk, but as it turned out, this transfer — while much sharper than any prior home video release — featured completely different color timing than any of the prior DVD or Blu-ray editions, including the Cundey-approved 1998 transfer. The entire film has a stark, desaturated appearance, completely removing the "autumnal" tint from the daylight scenes while also featuring less vibrant colors in general than even the 2003 DVD. The night scenes are bluer than they were in the 2003 and 2007 transfers, but still not as heavily-tinted as the 1998 DVD. This led to many impassioned debates about which version people believed looked most like the original theatrical prints, based on 35-year-old memories. There was enough controversy that the Deluxe Edition Complete Collection Blu-ray set of the franchise includes both the 2007 and 2013 transfers.
    • Another new scan was done for the film's 4K Ultra HD Blu-ray release in 2018, but the color timing was kept nearly identical to the 2013 transfer.
  • Criterion's first print release of the Dressed to Kill Blu-ray/DVD in August 2015 was met with scathing criticism. De Palma asked the film restorers to fix what he thought were some minor distortion issues and in the process the frame became vertically stretched. Criterion apologized for the error, sent replacement copies to those with the first edition, and eventually released a second printing in October 2015.
  • The DVDs and Blu-rays for the films of Stanley Kubrick are the subject of a very long debate regarding what aspect ratios the films should be seen in.
    • Barry Lyndon was expressly meant to be projected in the 1.66:1 aspect ratio, which was common in Europe but not in America. Kubrick even had notes packed with prints of the film urging American projectionists to make sure they got the 1.66:1 ratio right, or as close to it as they could. Naturally, the Warner Brothers Blu-ray is cropped to a 1.78:1 ratio instead, removing a noticeable amount of picture at the top and bottom of the image for the sake of filling a widescreen television (1.66:1 would produce small black bars at the sides of the screen). Luckily The Criterion Collection got a hold of this title and released a Blu-ray that uses the correct 1.66:1 ratio in 2017.
    • Kubrick's later films, such as The Shining and Full Metal Jacket, were shown in theaters in 1.66:1 in Europe and 1.85:1 in America, but "protected" for 1.33:1, meaning the frame could be expanded vertically to fill a television screen without introducing any glaring issues like boom mics or camera tracks. Shortly before his death, Kubrick approved 1.33:1 DVDs of these films, and some fans have taken that to mean that the 1.33:1 versions are the definitive versions which reflect Kubrick's vision most accurately. However, in reality Kubrick simply felt that viewers would prefer seeing the 1.33:1 versions than having to watch either letterboxed widescreen editions (given that letterboxing can look painfully low-res on a standard definition CRT) or badly cropped Pan and Scan editions. Now that high-definition widescreen televisions are the norm, the movies have been reissued in 1.78:1...which, of course, is somewhere between 1.66:1 and 1.85:1 and thus not actually a ratio the movies were ever intended for, something a notorious perfectionist like Kubrick would likely not be pleased with.
    • The 2007 Widescreen DVD, HD-DVD, and Blu-Ray versions of The Shining feature a color grade that infamously turns the yellow tennis ball pink. This was eventually corrected in the 2019 remaster, screened at the Cannes Film Festival and later released as a 2-disc Blu-ray set, one a regular Blu-ray and the other a UHD one.
  • The Blu-ray release of Selma came under fire by over its "pale and fatigued" color. Some shots have smudges on the edges and the color in most scenes is a poor blend of light sepia and pale blacks, all flat. Many were baffled that a 2014 film shot and finished digitally be released with such mediocre video quality.
  • Tokusou Sentai Dekaranger the Movie: Full Blast Action had an issue on its DVD release: in the music video playing during the end credits, the blue was desaturated. This turns Hoji from Deka Blue to "Deka Gray" (and did not do Tetsu/Deka Break any favors as well, as his suit is mostly white but has a huge section of blue.) Fortunately, the HD copy released on the Super Sentai V-Cinema & Blu-ray Box 1996-2005 fixes this. (Pictures from the TV-Nihon wiki: [1], [2], [3]).
  • Anchor Bay's DVD of Suspiria (1977) looks quite fantastic but suffers from a very badly remixed soundtrack. The sinister musical score deliberately overpowered the sound effects and dialogue in the original mix, but now it has been turned down considerably, often to the point of being difficult to hear. Some music tracks are also flat-out missing, as are several lines of dialogue and sound effects. Perhaps the most glaring omission of all is the screaming heard over the entire end credits, which largely robs the iconic ending of its visceral punch.
  • Shout! Factory released several Jackie Chan films as double packs on DVD and Blu-ray. One Blu-ray bundle in particular, for Crime Story (1993) and The Protector (1985), features not only the panned US version of the latter film, but the superior Hong Kong version as well. The problem though is that the Hong Kong version did NOT get the treatment it deserved (especially since the US version is considered an Old Shame of Jackie's, making him re-shoot and re-cut the film in the first place) as it had little to no attempts at digital restoration whatsoever. No attempts at cleaned up video quality with sights of film scratches, no sign of improved colors, and still looked pretty blurry. As well as no improved audio as it still sounded like it was running on an old video medium. It also doesn't help that it's treated as an extra feature rather than another film.
  • When the original Night of the Living Dead (1968) was re-released in a George Lucas Altered Version for its 30th anniversary, one of the many complaints was that the restoration team had actually done too good a job, erasing the atmosphere provided by the murky public domain prints and making the film look cheap and shoddy as a result. In actuality this was because the producers of the newer cut altered the contrast levels of the original film so that it would be a better match for the new footage they shot; subsequent releases have generally averted this trope by seeking to maintain the look of the older prints, even when creating new high-definition versions. Though with the film in the public domain and available for anyone to make their own release of, some of them have naturally gone overboard with DNR, with predictable results.
  • Downplayed with the Kino DVD of the 1970's Bolshoi video production of The Nutcracker. While the picture does look fairly beautiful compared to the original television broadcast, the DVD release does suffer from the postage stamp effect when played on 4:3 screens, similar to the Sailor Moon example, and is also subjected to the inverse of PAL speedup, i.e. slowed down from the original 25 FPS framerate of the SECAM source material to 24 FPS.
  • The Apartment looked overly dark and vertically compressed on its Collector's Edition DVD and Blu-ray, released in 2008 and 2012, respectively. The 2017 restoration corrected these issues.
  • Grease
    • The audio became remixed for the 1998 20th Anniversary theatrical/home video re-releases, with new sound effects and vocals added to some sequences. Unfortunately, the music sounded less clear afterwards, and some vocals disappeared altogether. For the 2018 40th Anniversary re-releases, Paramount managed to correct almost all of these issues.
    • Early pressings of the 40th Anniversary Edition Ultra HD disc, Blu-Ray and DVD had a red flash overlap Danny's face during a closeup of him and Sandy dancing through the funhouse. Paramount eventually removed the flash, and allowed owners of discs with the flash to receive fixed replacements. Unfortunately, the "fixed" UHD disc now has distracting brightness fluctuations during the carnival.
  • Rififi: The Blu-ray transfer is very grainy in places. The counter-intuitively named Unsharp Mask increases perceived sharpness by increasing edge contrast. If you push it too far, the process finds edges in areas of flat colour, causing grain. There are also a few brief scenes which haven't been processed, and which look very soft in comparison.
  • Ghostbusters (1984) had several color-inaccurate versions, with the worst offender being the 2005 DVD.
  • The Dish's 2017 Australian Blu-Ray release was upconverted rather than "remastered" as advised. At first it was conversional thanks to users at a Blu-Ray forum until Roadshow replied and planned on making a proper restoration, which they released in January 2018.
  • From the start of the home video revolution, Sergio Leone's Dollars Trilogy has been put through the wringer. At first, it was simply the standard pan-and-scan treatment accorded to most every other film put out on video in the '80s; however, as letterboxing became popular, especially on videodiscs, the destruction started to become more creative:
    • The 1988 MGM/UA print of A Fistful of Dollars, issued on VHS and Betamax in 1988 and on laser videodisc in 1990, marked the first uncut English-language release of the film, but the colors ended up looking rather muddy, far from the yellowish look Leone intended for his films. The 2005 restoration released Stateside on DVD in 2007 and on Blu-ray in 2010, was even worse in that regard, also looking quite cropped.
    • The Dutch DVD of A Fistful of Dollars claims to contain the UK theatrical cut, but it manages to misrepresent that; the true UK theatrical cut is only slightly shorter than what the Dutch DVD would have you believe, and several shots and cuts are different. The Dutch DVD closer resembles the US theatrical cut in its length, if not in the arrangement of its shots.
    • Most current releases of the trilogy as a whole don't even have the original mono; exceptions include a repressing of the 2014 release of The Good, the Bad and the Ugly (the original pressing accidentally omitted it) and the 2018 release of A Fistful of Dollars.
    • Just like the Dutch DVD release of Fistful, the 1998 release of The Good, the Bad and the Ugly managed to screw up the simple task of assembling the International Theatrical Cut, losing several seconds of footage which have yet to resurface commercially to this day and also inserting footage that wasn't meant to be included.
    • The 2014 release of The Good, the Bad and the Ugly is the first release in a while of any film in the trilogy to look yellow; however, it looks more yellow than Leone intended.
    • From 2017 to 2019, Kino Lorber released the complete trilogy, with mixed results. The Good, the Bad and the Ugly was the first out from them, and while it purports to be the high definition debut of the International Theatrical Cut, it's actually the same cut released by MGM/UA in 1998, plus it uses the same restoration as the previous release, only with the yellows toned down too severely yet again. Fistful, released in 2018, also uses an overly-yellow print; however, it at least appears to be a step in the right direction, as the original mono track is included for the first time ever, on any home video release, period (other English mono tracks for the film are folddowns from a 5.1 track and/or somewhat edited).
  • Iron Man and Iron Man 2 had their film grain either removed or frozen on Ultra HD Blu-ray, to match the movies that Marvel Studios recorded digitally (including all of Iron Man's post-IM2 appearances).
  • Silent Night, Deadly Night Part 2's Blu-ray release looks much darker and more muted than it did on its original DVD run, due to the former being scanned from a print of the movie that was in much worse condition, as the original negatives are missing.
  • Terminator 2: Judgment Day saw a 4K release that, despite approval from director James Cameron, boasted a much greener tint and excessive DNR. Additionally, the newly authored Blu-ray included now had the added scenes in the extended cut play in standard definition instead of being remastered as they were in the previous Blu-ray releases.
  • The 2003 Region 1 DVD release of Super Mario Bros. from Disney, in addition to having zero extras, is a phoned-in transfer of the Laserdisc master, which, among other things, suffers from massive DVNR, poor color correction, and constant motion smearing. Even worse, because the transfer is in non-anamorphic widescreen, high-definition/widescreen televisions read it as a full screen image, resulting in black bars on all four sides of the screen. Its only saving grace is the surprisingly impressive 5.1 surround sound mix. Compare this to Second Sight's 2014 Blu-ray release, which boasts a 4K restoration with much crisper picture and properly formatted for widescreen televisions. Too bad it's only available in Region B and not playable elsewhere, meaning fans in North America are still stuck with Disney's shoddy DVD release (Disney also hasn't bothered to release it digitally there, either).
  • Mill Creek's Blu-ray release of Battlefield Earth scrubs it of any film grain, resulting in over-saturated colors and awful textures. Whether or not it was to deliberately give one of the worst movies of all time a bad name is up to you.

    Live-Action TV 
  • The mid-'90s "Re-Mastered" versions of the first three (late-'80s) seasons of Red Dwarf suffered from horrific picture quality, due to a combination of low-quality source material, widescreen cropping, and a nascent "filmizing" process being applied to footage that wasn't shot with filmization in mind. For good measure, the restoration artists also wildly oversaturated the colour levels. The "Re-Mastered" project was initially done to sell the earlier seasons overseas, as the originals allegedly looked too low-budget.
    • To a much-lesser extent, the initial Blu-Ray release of the first eight seasons had the (as-broadcast) third season and half of the fifthaccidentally mastered in the wrong framerate, causing a grainy, blurry picture that was later corrected in a reissue of the affected discs.
  • Some BBC DVD releases of the Classic era of Doctor Who have been criticized for this. Among the things that have been missed out during the restoration process on various stories are sound cues, music cues, certain special effects shots, and major hiccups with colour regrading. The team that does the restoration, when asked about these various mistakes, commented that because of the gruelling release schedule set for them by the BBC they simply don't have the time to make sure everything is 100% okay, and so the mistakes simply have to be accepted by the buying public. Aside from genuine mistakes made by the restoration team, the classic Doctor Who restorations are generally considered excellent. What's more, the most notable restoration errors have now been re-released with the errors corrected.
    • A fault in the conversion process from PAL to NTSC caused the second disc of Patrick Troughton's "The Invasion" to look jittery and soft on Region 1 copies; As far as it is known this has never been corrected. The US DVD release of the TV Movie also had an odd error whereby the original NTSC master was converted to PAL (which involved speeding it up slightly due to the frame-rate difference), restored for the PAL UK release, then converted back to NTSC for the US version; this caused unnecessary problems with ghosting and motion judder.
    • For some odd reason, the initial release of "The Seeds of Death" had the VidFIRE process — which is used to restore serials to the proper Video Inside, Film Outside look they had on first broadcast — applied to the entire story instead of just the segments shot in-studio. This was most likely a mistake that the team just didn't have time to fix, and corrected in the subsequent re-release of the story.
  • The revived Doctor Who Blu-rays have frequently been encoded in a worldwide-friendly format that compromises the quality of the UK version: 'The Complete Specials' and Torchwood series 1-3 were converted from 25 FPS to 60Hz, while Series 1-4 were slowed down to 24FPS. In a bizarre twist, the American co-production Torchwood: Miracle Day was sped up from 24FPS to 25FPS for the UK BD, while America received the correct 24FPS version. Series 5 onward and The Sarah Jane Adventures are presented correctly at 1080i25.
    • Strangely, the 2020 UK Series 5 Steelbook release contains the US 24FPS discs instead of the original UK 1080i25 discs. While no official reason has been given by the BBC, it was noted that UK fans complained about the UK discs editing out the On the Next trailers from the original broadcasts, which the US discs did have...
  • Classic World War II documentary series The World at War was reissued on DVD and Blu-ray in an "Ultimate Restored Edition". On the plus side, most of the archival war footage is remastered from the surviving 35mm or 16mm originals, descratched, stabilised and re-graded. What kills it for some viewers is that the image is cropped and scanned into widescreen. This restored version was rather controversial due to being in widescreen and not allowed to be shown due to this, so the unrestored fullscreen edition with Thames triangle logos from the 1990s (before they lost their franchise to Carlton) is shown instead for reruns. Fortunately the remastering was carried out on the full-frame pictures before cropping, and the most recent DVD and Blu-ray edition from Network restores the original aspect ratios, in line with Network's usual policy..
  • Another documentary by Jeremy Issacs focusing on the Cold War was aired on CNN in 1998. It was cropped to 16:9 aspect ratio for its 2012 DVD release and its broadcast on CNN International in 2013.
  • The Ultraseven DVD set by Shout! Factory has a redone soundtrack, with reverb added to most explosions, new sound effects created in some cases and the BGM volume screwed with.
  • Babylon 5 was filmed at an Aspect Ratio of 16:9, at a time when most shows were filmed in 4:3, with an eye towards future home video release on the newer wide-screen HDTVs that were beginning to become popular. However, the CGI could be expensive and time-consuming to produce, so it was decided to render it in 4:3 and crop the live-action footage to match for broadcast (especially given that much of the scenes in the show were Chroma Key composited shots with CGI backgrounds). The intent was to re-render all of the CGI for the eventual widescreen release, but for various reasons, by the time the DVD sets were eventually released, it was instead decided to crop the CGI scenes from 4:3 to 16:9, effectively a reverse-Pan and Scan, reducing their resolution and making the CGI look pixelated, particularly in the Chroma Key shots where the actors were shown in native 16:9.
  • The high definition remaster of Buffy the Vampire Slayer was widely disparaged by both fans and its creators alike. The aspect ratio was changed to 16:9 from the original 4:3, usually by opening up the sides of the frame and cropping the top and bottom, sometimes creating a host of problems like making film equipment and even occasional crew members visible. Joss Whedon even stated, "Buffy was shot 4x3 [because] TVs were shaped that way. Widescreen Buffy is nonsense." The restoration team also removed many color filters applied to the original versions, thereby inadvertently changing night scenes to day, and viewers pointed out that due to heavy noise reduction the HD version actually had less fine detail and much flatter lighting than the SD version.
  • Despite the fact that Poirot (Series 1-Series 8) and Jeeves and Wooster have excellent restorations, they have been tampered with on their recent DVDs. Because ITV Studios Home Entertainment released them through themselves instead of Network Distributing, the 2011 restoration of Jeeves and Wooster suffers slight cropping (even though it is in its original aspect ratio), an edit to the final episode and the end caps changed (a copyright change and the ITV Studios logo plastered over the Granada ones), while Poirot had two Granada logos plastered over the original LWT logos and the use of the original intro and closing credits in The ABC Murders, Death in the Clouds and One, Two, Buckle My Shoe (they originally had no intro and different credits which was retained through the early DVD prints from VCI). Taken to extreme for the JCA TV restorations of Poirot (Series 1-Series 8) where the copyright has been changed. Averted for many Network Distributing DVD releases of Granada and LWT shows which retain the respective endboard and copyright.
  • Sharpe (the episodes from 1993—97) had a bit of this for its recent DVD release. It has a copyright change, a logo plastered on the 1st episode, becomes widescreen (though this is an aversion because it was filmed in widescreen, although it was shown in fullscreen for earlier TV transmissions and was presented that way for early DVD releases), and gains ITV Studios logos, though it retains the Central endboards for episode 2 to episode 13. However, it's still a beautiful restoration, unlike Poirot and Jeeves and Wooster.
  • It seems that during the restoring of the Jeremy Brett version of Sherlock Holmes for their reruns on the BBC during 2003 to 2005 and their 2005 Region 2 complete collection DVD boxset, had resulted in the loss of the old Granada logos (even the ones at the beginning) and ended up getting plastered over by the same Granada logo that plastered the LWT logo on the Series 1-Series 6 of Poirot, even the JCA restoration of Granada Holmes made it even worse with changed copyright and ITV Studios logos. Averted by the Region 1 DVD release of that series due to being sourced from the original negatives.
  • Shout Factory yet again has a tokusatsu release issue — Gekisou Sentai Carranger features noticeable artifacting in scenes where significant usage of video editing is made such as the eyecatches, chroma key and character cards. However, this can mainly be blamed on Toei's usage of subpar sources like with the Orange Box example.
  • This clip on the official YouTube channel for Mr. Bean retains the old ITV "black and white stripes box" in the top right corner that was a cue for the broadcast staff to cue commercials (it pops up at 5:15 in the video)
  • The 2015 ABC Family (now Freeform) airing of the Emmet Otter's Jug-Band Christmas special runs at 24 frames per secondnote  and adds film grain in an attempt to make the movie look "timeless" (which of course backfired among Muppet fans). Yes, they purposefully added digital destruction because they thought it'd make the film look better. Additionally, the special was cropped to 16:9, and the cropping cut out a lot of the background (which a number of fans considered to be one of the more beautiful and elaborate model sets to be made by the Jim Henson workshop), and even worse, apparently the producer of this release did not know that pan-and-scan can also be applied to 16:9 conversions, causing characters to have part of their heads go off-screen in certain scenes. On the plus side, the Kermit the Frog framing device was restored, but only his appearances at the start and the end were restored and not the narration throughout the specialnote . Subsequent home video releases did away with the film noise effect, but still present the special in 24fpsnote  and in 16:9, although the 2018 Blu-Ray release has the option to play it in the original 4:3 aspect ratio.
  • The first season of the TLC documentary series from 1997 Earth's Fury (also known as Anatomy of Disaster internationally) was cropped to a 16:9 aspect ratio for digital (Tubi TV and YouTube) releases.
  • The remastering job for the second season of Star Trek: The Next Generation was criticized for being a considerable downgrade to the one seen in the first season. In part due to CBS Digital, the studio responsible for that set and most of the later seasons, not being involved with the season and outside firm HTV-Illuminate being utilized instead. While the live-action scenes were praises for exposing details not seen in the original SD-brodcasts, the haphazard restoration of the show's visual effects and uneven efforts to recreate other shots were criticised as being a step down from the consistant high quality of the first season. The rest of the remaster averts this, and is considered to be top notch by fans and Season 4's remastering by Modern Video Film was likewise far better received due to closer involvement with the main CBS remaster team.
  • The complete series Blu-ray release of Fraggle Rock appears to have been upscaled from interlaced DVD sources without any sort of de-interlacing first. The result is that any sort of rapidly-moving object looks absolutely horrible.
  • When The Muppet Show hit Disney+, Disney decided to upscale the series in HD even though the show was shot on videotape. Because of de-interlacing, the original 60 fps has been halved to 24 fps, resulting in a more film-like presentation.
  • The same case above also applies to how HBO Max treats pre-HD shows that were shot on videotape (like The Fresh Prince of Bel-Air), with them also upscaled in HD with reduced framerates due to de-interlacing.

  • The original 1981 printing of The Illusion of Life: Disney Animation was printed on high quality paper and the illustrations were more crisp looking. When the book was reprinted later in the 80's and 90's, Disney found out that the original photographic plates for the book were lost or destroyed, so they were forced to scan pages from the original book in high quality and use them as the source materials for the reprints so they wouldn't have to go to the painstaking effort of reconstructing the entire book from scratch. On top of that, the reprints used much cheaper paper than the original. While the reprints aren't anywhere near bad, a side by side comparison of the original run and its reprints reveals a noticeable drop in printing quality.
  • Computer scientist Donald Knuth was so annoyed by the poor quality of digital typesetting used in his famous The Art of Computer Programming series of books that he invented the Te X typesetting language, which is widely used in academic publishing for the high quality of its output and ability to typeset mathematical equations, something very important in scientific books and journals.

  • David Bowie's studio backlog has historically been a huge magnet for terrible treatment on CD releases.
    • Despite being highly coveted prior to The New '10s, the RCA Records CDs were very half-assed in their production, featuring many of the issues discussed below that plagued early CD releases overall, including badly-EQ'd audio sourced from third-generation safety tapes rather than the original masters, shoddy print work, and heavy alterations to album artwork (particularly with the rear artwork; save for the repositioning of text on the front cover of Aladdin Sane, most front cover alterations simply consisted of adding RCA's "spectrum" CD logo in the corner). Essentially, they act as microcosms of everything that could go and did (at least partly) go wrong with CD releases in the early and mid 1980's. This blog post from a former RCA engineer who supervised the CDs' production goes into more detail about what exactly went wrong there. RCA, perhaps out of a desire to avoid repeating their mistake of resisting the LP in the late 1940s, quickly jumped on the CD bandwagon, getting their catalog stars like Bowie and Elvis Presley out on the new format, even if it meant cutting corners. Bowie himself was so disappointed in the quality of these releases that he licensed his back catalog to Rykodisc, though their reissues had their own problems.
      • Oddly enough, the RCA CDs seem to vary in their issues based on where they were manufactured and for which market. Discs were pressed in either Japan or West Germany; Japanese pressings were made for the Japanese, American, and European markets, each by different manufacturers, while West German pressings were made exclusively for Europe. There doesn't really seem to be one consistently "better" manufacturer, with oddities differing from manufacturer to manufacturer by album; for instance, the Japan-for-U.S. pressing of Station to Station is considered much thinner-sounding than other releases, while the West German Diamond Dogs CD is unusually bassy and severely lacking in treble. This 27-page document by Steve Hoffman Music Forums user Karmaman does a good job compiling and comparing the different versions of each Bowie album as released on CD by RCA (note that it was first formulated before Parlophone started doing their own in-house remasters of Bowie's work, often considered to be the definitive digital audio presentations of them, and thus excludes them from the discussion).
    • The 1991-1992 remasters by Rykodisc, while also initially well-regarded, are in hindsight considered to be fairly dismal in quality as well. This is largely due to the fact that even though the audio is sourced from first-generation master tapes, the EQ work places a disproportionate amount of emphasis on treble at the cost of bass sounding virtually nonexistent, leading to an unusually bright sound far-removed from the original LP releases.
    • The 1999 EMI remasters are generally considered the worst of the bunch, sounding incredibly papery compared to even the Rykodisc releases. Worse, up until Parlophone started remastering Bowie's catalog themselves, the EMI remasters were the only way one could easily buy Bowie's music on CD for the longest time. It speaks volumes about the quality of the EMI remasters that it directly led to the RCA discs becoming a holy grail for CD collectors.
    • While Parlophone's remasters throughout The New '10s are generally considered to be near-godly in comparison to previous Bowie CD releases, they weren't immune to problems either.
      • The label's 2015 remaster of Space Oddity was a noticeably rushed job and— by their own admission— not cross-examined with the original 1969 LP, resulting in a number of audio transfer issues such as a tape buzz during the line "someone else to hear" in "Cygnet Committee". Because of this, the Conversation Piece Boxed Set in 2019 went for the earlier 2009 remaster, which was made to match the original release, in addition to including a new remix by producer Tony Visconti that's been mostly praised as an improvement upon the '69 mix.
      • The Boxed Set A New Career in a New Town [1977–1982], which encompasses the Bowie albums from that period plus remixes and non-album singles, has come under considerable scorn from fans and critics for an apparent volume drop partway through the Title Track of "Heroes". Parlophone responded to the criticisms by stating that this was an attempt to circumvent irreversible damage that was present on the tape. Nevertheless, the criticism was so strong that Bowie's website provided replacement discs for "Heroes" up through June 2018. The replacement discs' version of the remaster was also used for the standalone CD and LP releases of "Heroes", as well as for the digital releases of both the album and the box set. The issues were especially grating to fans because the first two box sets in the series, Five Years [1969-1973] and Who Can I Be Now? [1974-1976], were very highly regarded and featured remasters that many fans and critics considered to be nearly definitive. Luckily, this problem turned out to be a fluke, as the Loving the Alien [1983-1988] box set was much better regarded, being considered on-par with the first two sets (barring the aforementioned Space Oddity blunders).
  • While later CDs were plagued by Loudness War mastering issues, early CD reissues of albums had their own sound quality problems. This was mainly due to poor sourcing of master tapes, such as tapes equalized for vinyl pressings that were at least a couple of generations removed from the originals. This was so prevalent of a problem at the start of the format's market lifespan that it was credited for sparking an anti-CD backlash among certain audiophiles that eventually culminated in the 2007 vinyl revival, even after CD releases quickly improved as labels sought higher-quality masters, often with input from the original artists and producers. Some vinyl fans claimed it was a deliberate conspiracy by the record companies to put out bad CD releases to create a market for "remastered" CDs, but it was more likely ignorance on the part of the labels as they wanted to get CD releases out as quickly as possible. Mastering engineers also wanted to show off the clarity of the format by boosting higher frequencies, which also made a lot of early CDs sound harsh compared to analog formats.
  • Another issue with CD releases up until around 1991/1992 was the alteration of album artwork.
    • Most of these changes were ones made to compensate for the vast size difference between an LP sleeve and a CD case (note that the radius of an LP is nearly three times greater than that of a CD), such as zooming in on or enlarging certain elements (usually logos and/or text) of the front and/or back cover; in some cases, the back cover would be outright omitted in place of a generic tracklist. Record companies also tended to use generic labels. This was also done due to the limitations of printing and silk-screening technology at the time. Albums that already used booklets for their LP releases, like The Who's Tommy, or had inner sleeves and gatefolds that mostly contained text, were easier to adapt as it was effectively just a matter of shrinking down the booklet or inner sleeve to CD size while leaving it mostly intact. Some labels tried to compensate for the loss of artwork by adding elements that weren't on the original LP releases, such as lyrics or liner notes. This strategy was already deployed on LP repressings of the era as a cost-cutting measure. An album that had been released with picture labels and a lavish gatefold sleeve on its first pressing might use generic labels and a simple inner sleeve with printed lyrics on later pressings, but this was more noticeable with a change in format from LP to CD. With the vinyl revival of the 21st century, vinyl reissues now go out of their way to recreate the original pressings, right down to the label art and Feelies that came with the first pressings like posters. As with the sound of early CD releases, a lot of consumers perceived CD jewel boxes and booklets as less attractive than LP jackets even as they snapped up them up at a rapid pace, which also set the stage for the later Vinyl Revival.
    • Other common alterations included adding text to a Textless Album Cover and replacing a Contemptible Cover with a more modest variant. In rarer cases, the album art might be replaced with a trend cover, notably illustrated with CD issues of David Bowie's 1969 self-titled album and The Man Who Sold the World, which used the Bowie-as-Ziggy Stardust covers from the 1972 RCA LP reissues rather than the original UK LP covers.
    • For CD releases from 1982 to 1987, there was also a tendency for dust sleeve artwork and gatefold interior artwork to be absent from the liner notes.
    • All of these practices only started to fade out after 1987, when CD sales overtook those of LPs. At that point, it started to become clear that CDs would be the primary release format of choice for the recording industry, and album covers started to be designed more with a 4.7 square in. (12 square cm.) display in mind. At the same time, advances in desktop publishing software, as well as the advent of the digipak and mini LP sleeve, allowed graphic designers to create more sophisticated CD packages, and advances in silk-screening allowed for custom label art. Even then, it took until the early 90's for these elements to disappear completely, with a small number of albums still being designed more with an LP release in mind. Despite the variable audio quality of CD reissues, later remastered versions were at least able to better replicate the original LP artwork. Many of the booklets even had extensive liner notes detailing the recording process and photos of the artists in the studio.
      • One interesting instance of this was with Pearl Jam's Ten, where the cover photo was indeed designed for the CD release, but had to be significantly edited to look more aesthetically pleasing on a small jewel case; the unedited artwork would be instead used for the LP release.
  • The vinyl revival of the 21st century has led to an inversion of the problems faced with packaging CD reissues of albums originally released as LPs. Nowadays, record companies are faced with the challenge of taking album artwork designed with CD packaging in mind and adapting it to fit an LP sleeve. Common techniques observed here include zooming out on artwork, shrinking (and sometimes re-positioning) logos and/or text, and transferring liner note artwork and text to a dust sleeve and/or interior gatefold, which tends to be fairly difficult when dealing with liner notes that featured, say, lengthy foldout artwork in place of a traditional booklet.
  • Yet another issue with early CD releases was the editing or dropping of tracks from double albums so they could fit on one CD, due to the fact that a Compact Disc in its original form could only hold up to 74 minutes of music compared to the maximum 104 minutes of a double-LP without groove compression (granted, most double-LPs never went anywhere near that long, though many did surpass 74 minutes nonetheless). Later developments allowed for a playing time of 80 minutes, with some unofficial revisions allowing for up to 99 minutes of uncompressed Redbook audio (though you'll never see a commercial release use a 99-minute CD, largely due to reports of compatibility issues with older CD players). Additionally, CD production costs dropped quite heavily throughout the 90's and have stayed low to this day, making it more practical to simply release a double-LP across two CDs if it was too long to fit on even an 80-minute disc.
    • Two good examples are the first CD releases of Fleetwood Mac's Tusk, which replaced the 6-minute version of "Sara" on the LP with the edited single version, and the first CD releases of Prince's 1999, which outright dropped the track "D.M.S.R." entirely. The 2004 remaster of Tusk restored the original album version of "Sara", and a 1990 reissue of 1999 restored "D.M.S.R." in full.
    • Curiously, the original CD release of Tusk came out the same year as the full-length reissue of 1999. Given how both releases were on the same record label, it's likely that Warner Bros. Records mastered the CD release of Tusk first, before they had access to 80-minute CDs, and the full-length version of 1999 shortly after, once they were able to use larger-capacity discs. Tusk had a double whammy as it had most of the LP artwork removed for its first CD release, another one of the annoying issues plaguing CD reissues mentioned above.
    • Warner was a serial offender at this across its subsidiary labels, while most other labels simply issued double-CD sets of double albums that didn't fit on one disc. This was likely a cost-cutting move, as Tusk was a relative failurenote  compared to Rumours, whereas 1999 was a major commercial success and Prince's mainstream Breakthrough Hit, so Warners probably just wanted to avoid spending more money than they had to on Tusk. Warner also seemed to believe that the expense of double-CD sets would hamper adoption of the format. As a result, it and its subsidiary labels would only release double-CD sets when it was absolutely necessary, usually for albums that went so far over the 74-minute mark that it would be impossible to truncate them without seriously compromising the musical integrity of the album; after all, when push came to shove, the cost of manufacturing a double-CD set print run was peanuts compared to potential lawsuits from disgruntled artists. Usually this was the case with particularly long live albums, theatrical recordings, or compilations, but a small number of studio albums also managed to avoid being edited down by virtue of their sheer length (e.g. the 94-minute The Lamb Lies Down on Broadway, released through Warner subsidiary Atco Records).
    • As more albums started to be created with the CD and cassette in mind after the mid-80s, the inverse started to happen to vinyl albums, with tracks edited down and/or removed for the LP version in the mainstream twilight of the format. Naked by Talking Heads is a good example of an album that suffers from both in its LP release, which edits down "Totally Nude", "(Nothing But) Flowers", and "Big Daddy", and omits "Bill", collectively cutting the 52-minute album down to just 47. This is why the vinyl revival has also revived the double album, as the simplest solution is to spread an album across multiple discs. With wider spacing of the grooves on each side due to fewer songs per side, this allows for higher sound quality by minimizing inner groove distortion as well, so much so that audiophile reissues will often have multiple discs even for albums that could comfortably fit on a single LP without edits.
  • Skinny Puppy's Remission, in its cassette and CD editions, had "Manwhole" segue to "Ice Breaker", but the digital download edition inexplicably changed the latter to the version from Bites, which has the intro of "Manwhole" attached to it, resulting in a jarring jump-cut.
  • Similar to the Skinny Puppy example above, the digital re-release of Orbital's second self-titled album has "Lush 3-1" fade out instead of leading into "Lush 3-2", though the segues between "3-2", "Impact" and "Remind" remain intact.
  • Likewise, Jean-Michel Jarre's Equinoxe Infinity, on Apple Music/iTunes, interrupts the between-song transitions heard in the physical edition (which are intact in the downloadable version provided by the included certificate), presumably to accommodate randomized play.
  • The streaming release of Radiohead's Kid A cuts up "Motion Picture Soundtrack" and the unnamed Hidden Track at the end of it into two separate tracks, despite the band stating that the pair are supposed to be viewed as a single piece.
  • The 1993 CD reissue of Trans-X's Living on Video album, which is the basis for the downloadable version, attempts to combine the tracklists of the 1983 and 1986 LP editions, but omits the songs "Ghost" and "Somethings In the Air" from the latter as well as the 1985 remix of the title single, instead reverting to the original mix and filling out the CD with "Re-Recorded" and French versions of "Video" plus an extended remix of "Message on the Radio".
  • Zigzagged with the US release of A Flock of Seagulls' Self-Titled Album, whose vinyl edition replaced the original full-length version of "I Ran" with the 7" edit, though the CD reinstated the extended version.
  • The music video for Bryan Adams' "This Time" has some bad aural tape distortion at the very start of it's YouTube upload.

     Video Games 
  • Halo: Combat Evolved received an Anniversary Edition in 2011 (and included in the Master Chief Collection Compilation Re-release) that offered updated graphics and the option to toggle back to the graphics of the original release. When it came to displaying the original game it used Gearbox Software's flawed 2003 PC port of the game as the foundation, but contained small coding errors. These made it look even more dated than it was, specifically with bump map textures and the quality of various translucent visuals like the windows, Jackal shields and energy constructs, all of which made the game feel flatter and less vibrant than it originally was. As the focus was on the updated graphics (and the Master Chief Collection had no end of other glitches across all the Halo games to deal with), these flaws were never corrected.
  • The cutscenes in the Super Mario 3D All-Stars release of Super Mario Sunshine have been upscaled and smoothed out, resulting in a loss of detail. Furthermore, F.L.U.D.D's lines were awkwardly edited to remove mentions of the Nintendo GameCube buttons, which results in a noticeable jump in the audio.
  • High quality versions of the FMVs from Sonic the Hedgehog CD were included in Sonic Mega Collection, but they were given new audio and sped up to coincide with it, resulting in insidious frame blending and ghosting, especially during the ending cutscenes. The colors were also significantly washed out, though this is only noticeable when compared to stills of the original production cels; Sonic's deep cobalt blue is lost and replaced with more of a sky blue. Unfortunately, the developers of later Sonic CD ports didn't have access to the original FMVs (if they still existed at all), and previous versions of the game used low-quality, low-res video. So they had to use the edited versions, edited again to match the original slower speed, making the frame blending even worse. Furthermore, the 2011 remaster replaced the FMVs' Japanese and European audio tracks with instrumental versions (the original songs couldn't be used due to rights issues), and cropped the top and bottom of the frame from its original 4:3 to 16:9. The cropped versions are used even if you're running the game in 4:3. A fan remaster of the opening animation corrects the colors and frame blending issues, but the damage done to the ending animation is so major that giving it the same treatment is impossible.

    Web Animation 
  • Homestar Runner:
    • Most of the home video releases suffer from this due to how the footage was rendered. Unlike the original flash files, the image quality of the toons suffers from having less color. The only upside is that the audio is clearer and the live-action segments are rendered in higher quality.
    • Thanks to Adobe Flash ending support in 2021, the site had to switch to Ruffle to run the original flash files. However, due to it being an early build, the files are downsized as both image and audio quality are worse than when they were running through Flash natively.

    Western Animation 
It bears noting that DVNR (Digital Video Noise Reduction) line damage is a very common problem among cartoon DVD releases. The reason for this is because the program was designed to remove scratches and dirt from older films by comparing adjacent frames and taking elements from another frame to remove damage. While this usually works fine for a live-action film (although it likewise can cause motion smearing and picture damage if used carelessly), in animation (especially animation shot on ones, or one new drawing per frame) the DVNR process can easily mistake details or linework as dirt or scratches, and can accidentally delete whole details from the drawings as a result if the process isn't properly used. Grain Smoothing is also considered to be a serious liability to use in restoring old cartoons, since it can likewise snuff out details or linework if used carelessly. Another reason DVNR is so often (ab)used is because its an automated process, and is much cheaper and quicker to use than DRS (Digital Restoration Services), which require going through the film frame by frame to clean them up at great expense and time.

  • Happy about your Looney Tunes Golden Collection sets and Walt Disney Treasures stuff, as well as Disney's restorations of their films? If you're a hardcore animation fan, you probably aren't. The short collections by both studios frequently abuse the infamous DVNR process, which either thins out or erases lines of artwork. And while Disney's films don't use the DVNR process, they do have many noticeable problems — Bambi in particular has had the dark pumped up considerably, which destroys much of the original color contrasts. The Blu-ray release also has some bizarre color alterations, and some shots have obvious grain-smoothing problems.
    • The Looney Tunes Golden Collection sets have a lot of issues with DVNR on the first 2 volumes. While most of the DVNR'd cartoons on volume 1 have outlines blurred for a few frames, some have outlines and art disappearing (Elmer's Candid Camera on vol. 1 has some really bad examples of this that you don't even need to still frame to notice). Vol. 2 also used digital interlacing for a handful of shorts on disc 4, resulting in very flickery picture. Fortunately, a replacement program was issued for that particular disc. Fortunately, the Blu-ray Platinum Collection sets tried to rectify the DVNR on the last volume but still had some hiccups. Almost all the cartoons on volume 1 scanned in HD that had outlines blurred as a result of DVNR, seem to have worse cases of DVNR as outlines and cel work disappear (Bugs Bunny's fist in the scene in "Tortoise Wins by a Hare" where he's getting ready for the race is a prime example). Additionally, "Fast and Furry-ous" is DVNR'd like crazy on Platinum Collection, despite not having any on Golden Collection. Another issue on volumes 2 and 3 is that the cartoons with severe DVNR on GC or ones that weren't scanned in HD, were given new scans but had a much darker hue resulting in some of the cartoon's contrast being messed up. Also all of the cartoons on the vol. 2 Platinum Collection DVD have issues with digital interlacing.
    • The first two of the single-disc "Looney Tunes Super Stars" DVDs include cropped widescreen versions of shorts originally animated in the squarish aspect ratio of 1.37:1. However, Warner Bros. got word of this and promised that later Super Stars releases would now contain an option to switch between full-screen and widescreen.
    • Some Looney Tunes and Merrie Melodies shorts, Tex Avery MGM Cartoons, and Tom and Jerry shorts were restored for HBO Max, but these new restorations have some faults. The grain and colors have been flattened to make for easier digital cleanup (read: DVNR) In the case of the Looney Tunes shorts, most of the cartoons have titles recreated with Adobe Photoshop and digital editing.
      • The Tex Avery Screwball Classics Volume 2 Blu-ray disc was done by the HBO Max team since the Warner Archive team behind the first set were unable to work at their facilities thanks to the COVID-19 Pandemic wreaking havoc at the time. As a result, it has a lot of issues and is very disappointing compared to the stellar Volume 1. Most of the cartoons have DVNR issues (some varying from cartoon to cartoon). Additionally, "Magical Maestro", "One Cabs Family" and "Doggone Tired" have redone titles made in Photoshop (despite this, all three look amazing). Also, all of the cartoons on the set (with the exception of "Droopy's Double Trouble") reuse their Turner audio tracks. "Ventriloquist Cat" seems to be sourced from a poor transfer and "Homesteader Droopy has very bad color correction, pretty much ruining the opening scene. With that said however, "Drag-a-long Droopy", "Field and Scream", "The First Bad Man", "Dixieland Droopy" and "Barn of Tomarrow" have no issues and look amazing and despite the issues, the set is still worth getting for "Magical Maestro" alone.
    • Prototype versions of "Falling Hare" had DVNR (as seen in special features.) This was fortunately fixed for GC Vol.3.
  • The Disney Oswald the Lucky Rabbit DVD set has fine restorations for the most part, but DVNR issues pop up in "Oh, What A Knight!", and "Bright Lights" had a missing part of its transfer found and spliced into the collection at the 11th hour, which resulted in a shaky, jumpy picture with interlacing during part of it. The pencil test for the lost film "Sagebrush Sadie" that was included as an extra was also shot at the wrong framerate (30 FPS as opposed to 24 FPS) which resulted in the tests being played at way too fast of a speed, and whole drawings were revealed to have been dropped from the video when the pencil tests are still framed, all due to this framerate blunder.
  • The Woody Woodpecker DVD collections (the two official sets) got a very nasty case of DVNR treatment, terrible color correction and blatant digital compression issues — the ones that get hit the worst are the shorts directed by Shamus Culhane and Dick Lundy (i.e., "the best shorts"). Curiously, the earlier, sloppier shorts were considerably less ravaged. The unofficial Columbia House mail-order DVD sets use the unaltered prints, however. The B&W bonus cartoons got hit with this too; while the Oswald Rabbit shorts "Hells Heels" and "Spooks" only has it in only minor form, "Grandma's Pet" has some really bad line and art erasing issues.
  • A stunning aversion of this trope would be the first official Popeye DVD set, almost completely averting this Trope. Yes, almost — if one looks very carefully in certain bits of the shorts, there is some very mild line thinning and/or erasing that you would usually need to purposely look for in order to spot. The only short that seemed to suffer obvious DVNR problems was "I Like Babies and Infinks", where problems with artwork erasing pop up very frequently. And as John K. pointed out in his blog, the color specials have had some bizarre altering — "Popeye Meets Sindbad" has had the pink, purple and turquoise turned up considerably, and while "Popeye Meets Ali Baba" is very close to actual 1930s colors, the purple bits in the cave have been pulled up into a bluish look. Also, when the Vol. 2 DVD set was released, they goofed up on recreating some of the title cards, and some of the shorts suffered from digital interlacing. This seems to have been rectified by a disc replacement program, thankfully.
  • One particularly notorious example of Digital Destruction would be the infamous Betty Boop: The Definitive Collection series of VHS tapes and LaserDiscs. In every single short there is blatantly obvious, horrendous line thinning and erasing. Fortunately, Olive Films came to the rescue in late 2013 by re-releasing Betty Boop shorts with exquisite restorations that are completely devoid of DVNR—the only downside being that some of the pre-1933 shorts have their aspect ratio slightly cropped, most notably Snow White, which has a good chunk of the top of the screen cropped for no good reason.
  • Another infamous case of DVNR would be the Eastern-only DVD release of "The Complete Tex Avery" — almost all of the shorts have been ravaged with horrible line thinning and erasing, almost making one wonder if the price of this import-only set is worth it, especially when it costs more than just getting a LaserDisc player and a LaserDisc copy of the released-in-America, un-DVNRed "Complete Tex Avery" set.
    • On a side note, the Tex Avery's Droopy DVD set has a lot of nasty DVNR damage in four shorts ("Wags to Riches", "Daredevil Droopy", "Droopy's Good Deed" and "The Three Little Pups"). Shorts like "Wags" get hit with it so badly all over the film, that it's borderline unwatchable as a result. Fortunately, "Wags to Riches" and "Daredevil Droopy" both had the DVNR fixed on the Tex Avery Screwball Classics Vol. 1 Blu-ray, although their soundtracks are slightly distorted.
  • The TV print of the MGM Oneshot Cartoon "Tom Turkey" has blatant DVNR damage at several points in the film.
  • Even John Kricfalusi apparently couldn't avoid DVNR completely with Paramount's DVD release of The Ren & Stimpy Show, as there's some noticeable line thinning and art erasing in bits of the episodes. This may have been why John K. got on this soapbox in the first place.
    • That doesn't beat the butchering of dozens of episodes as per John K.'s request. Now, some scenes missing from the Paramount DVDs are only available in poor quality.
  • The Beany and Cecil DVD sets had issues with DVNR as well, mainly in the few scenes where characters are moving on ones (i.e. one new drawing per frame).
  • In the late 1980s, all of the classic Gumby episodes had their sound tracks completely redone, with new synthesizer music, Stock Sound Effects and voices to match up with the 1988 Gumby Adventures revival series. When the shorts were initially released to DVD in 2002 by Rhino, these late 1980s masters were used, to the disappointment of many fans. More recent DVD releases by Classic Media retain the original soundtracks, however.
  • The 2008 UK Blu-ray release of Thunderbirds cropped the episodes into widescreen. This only serves to exaggerate picture shake and grain, which are very noticeable in the VFX shots.
    • Averted in the 50th Anniversary US Blu-ray by Shout! Factory, which not only uses fullscreen masters, but the original mono audio instead of the lazily remastered stereo track with added sounds done in the 1990's (though it still is an option on the discs).
  • The Scooby-Doo, Where Are You! Blu-ray set suffered from a rather egregious case of this. Not only were the usual DVNR problems present, but they were applied to HD masters dating back to 2004, and the discs being BD-25s as opposed to BD-50s resulted in the video suffering heavy compression to the point where the iTunes copies somehow ended up having higher bitrates and picture quality. Adding further insult to injury is the fact that just a week after the SDWAY set was released, Warner Bros. would release fellow Hanna-Barbera show The Jetsons on Blu-ray via their Warner Archive division, which ultimately averted this trope.
  • The 2020 Blu-Ray set of The Flintstones features a bizarre error on episode 17, "The Big Bank Robbery" where the music and sound effects are completely absent. Thankfully, a disc replacement program was put out immediately after this audio issue was discovered.
  • Warner's DVD of the Superman Theatrical Cartoons claims to include transfers from the original masters, boasting sharp colors and no DVNR or interlacing, but they still includes some changes. These include plastered end logos for several shorts, missing sound effects from two cartoons' opening credits, and an audible jump during the prologue of The Mad Scientist.
    • Another Blu-ray set of the series plays this much straighter, with terrible picture quality, watermarks on every cartoon, and an excessive amount of grain smoothing, making the cartoons look like they were dipped in Vaseline.
  • When the October 1950-March 1962 Noveltoons from Famous Studios were repackaged for television broadcast by Classic Media in the late 90's, not only were the original opening titles cut, but the soundtracks were remastered in PAL format, for American audiences. Additionally, the picture quality, while sharper, is marred with faded and inaccurate colors, and certain scenes with objectionable content were cut out. By contrast, the MCA/Universal video releases in the early-mid 90's have the cartoons with some modified opening titles, but are otherwise mostly untouched despite not being restored. To make matters worse, the "remastered" versions were included on Classic Media's DVD releases. Fortunately, Universal reclaimed the rights to the shorts following their takeover of DreamWorks Animation, Classic Media's parent company, sparking hope that a more superior restoration of the shorts are on the way.
  • Rhino's original DVD releases of Jem suffered from an interesting case of this - they were taken from 35mm film sources, so they were sharp and detailed. Unfortunately, Rhino only had access to the rough, uncorrected versions (meaning the actual 35mm sources were likely not kept or are in the possession of someone else), so the episodes on Rhino DVD have more animation errors than the TV broadcasts. They also redid the color timing, turning Pizzazz's neon green hair into an ugly "moldy mustard" green/yellow. The new release from Shout! Factory used the broadcast masters of the final episodes, so the color is more accurate and many animation errors are fixed, but because these were tape masters the video is less sharp.
  • Like Jem, Rhino's DVDs of The Transformers utilized film sources containing sharp picture, but also some animation errors. Some episodes even ran shorter than originally broadcast because of Rhino's dependence on the filmed versions. On top of that, the soundtracks received 5.1 "remixes" containing additional sound effects. Shout! Factory decided to rectify this by releasing DVDs containing footage from the broadcast tapes spliced into the filmed episodes, which also play synced with the original soundtracks. The picture quality of these versions fluctuates between looking sharp and looking soft.
    • One of Rhino's VHS releases had master tape damage in one episode.
    • The Shout! Factory and Tubi releases of Season 3 have a version of "The Burden Hardest to Bear" ripped from an obvious older master tape that looks almost fuzzy (namely, there's a unstable horizontal line appearing at the top of the picture throughout the episode), as if it was taken from a VHS copy.
  • The original DVDs of How the Grinch Stole Christmas! starred a Grinch with an unexpected mustard-yellow skin tone. When the special later turned 40, a new restoration tuned the Grinch's fur back to its original green.
  • Universal's DVD of the 1972 Animated Adaptation of The Lorax gave the Lorax brown fur for half of the cartoon, as opposed to orange. Warner eventually rectified this by releasing a Blu-ray and DVD where the Lorax's fur has a consistent shade of orange, although the audio for the Cat in the Hat's opening Vanity Plate now plays out of sync. Likewise, for the Universal DVD release, the smog-polluted skies throughout the cartoon became soft and bluish, as opposed to originally have a more convincing plum colored hue.
  • Some of the SpongeBob SquarePants season DVD sets notably have quite a bit of compression artifacts, and the widescreen episodes featured on the season 6 and season 8 DVDs (Truth or Square and It's a SpongeBob Christmas!) have black bars added on the top and bottom of the screen, resulting in the picture quality being rather worse.
    • To make matters worse, in all of season 2, SpongeBob has been turned a sickly beige color.
    • Averted when seasons 1-8 were upscaled in HD and released through Amazon Prime Video.
    • Also averted with the DVDs for seasons 9 through 12, which are surprisingly HQ despite only being in standard definition.
  • South Park
    • Many DVD collections add motion blur which, given the show's animation style, is especially noticeable.
    • South Park Studios gradually remastered the show's first ten (and part of eleven) seasons in high-definition, having been animated in 4:3. The first and second seasons feature the audio of the third seasons theme song, and for the first time, presented uncensored audio back to the second season. More importantly, however, every single episode has been fully re-animated in-house, resulting in cleaning up animation errors (the removal of the puddle in "An Elephant Makes Love to a Pig" leftover from a deleted scene, making Pip's debut match the computer animation) as well as occasionally using character designs from later seasons in the background (Pip's later design appearing in the first season, Scott Malkinson appearing as an easter egg in the background years before his debut).
  • The 2013 Blu-ray release of Mickey's Christmas Carol, like that mentioned in the Film-Animated folder for The Sword in the Stone, snuffs out all the detail with the film looking like it has been rendered under a Photoshop Blur tool, completely killing the look of the drawings and line quality.
  • Many 2000s DVD releases of Filmation cartoons have the sound higher pitched. This was because, when they owned the rights to the library in the 90s, Hallmark (the card company) deliberately threw out the original masters (as well as sound masters and other important archival material) and made new ones- but only for international distribution, apparently because they hated Filmation's library; this was discovered when Entertainment Rights (which has, though various mergers, been absorbed into DreamWorks Animation and Universal Studios) bought it off Hallmark. Hence, the majority of the library is now high-pitched, due to being in PAL format as compared to NTSC. Some of the lucky few to escape this included Filmation's Ghostbusters (both the live-action and animated versions), several of their little-known live-action series like Ark II, and Star Trek: The Animated Series (the latter being held by Paramount, then CBS).
  • The pre-HD episodes of The Simpsons were remastered in 2014 for broadcast on FXX. The problem? While the picture quality of every single episode has been restored to never-seen-before HD, the frame has been cropped to fit a widescreen TV (with the exception of scenes facing a screen being pillarboxed), resulting not only in the frame being tilt-and-scanned, but also instances of the frame being physically shifted to capture key details. Others, especially those including text, are instead compressed, causing the opposite effect. These were also the masters initially used on the Disney+ release of the show, causing widespread vitriol among longtime fans due to the loss of visual gags, such as a scene from "Duffless" cropping out the single pipe from which three different varieties of Duff beer come from. Thankfully, the original fullscreen masters returned to Disney+ in May 2020 alongside an option to switch between original and "remastered" aspect ratios.
  • Rudolph the Red-Nosed Reindeer had Yukon Cornelius' coat look green instead of blue in early pressings of the Blu-ray. Thankfully, the 50th Anniversary Edition has it changed back to blue.
  • When The Little Drummer Boy was released on DVD, Classic Media used a newly-discovered stereo mix of the soundtrack during restoration. Unfortunately, the stereo mix is missing many sound effects, such as Aaron's drumming and the sounds of the crowd commotion in Jerusalem, and subsequent releases have not corrected these issues. Thus, the only way to watch the original broadcast with the mono mix is on VHS.
  • Thomas the Tank Engine:
    • Seasons 1-3 of the classic series suffered from this when HiT Entertainment restored them. While some of the scenes are cleaned up and were zoomed out to make it clearer, others weren't done well. Best example was in "The Flying Kipper", where a majority of the shots are zoomed in. Season 3 zigzags this, as some shots are better, but often have something chopped off. Other issue is that the restored version might use different takes, or don't use them at all. Sometimes scenes are simply "color-corrected" versions of the late 90's analogue transfers.
    • The most egregious example comes from the episode "Coal" when Henry is backing into a siding. In the original, Henry backs into the siding and Edward comes out of another siding to take his train. However in the restored version, an outtake is used where Henry backs into a siding and then quickly moves forward offscreen again. It's pretty evident the editor did not care about this outrageous example.
    • While the sixth season was the first to be in widescreen, the first 6 episodes from said season are not. Some of the scenes from the episodes are done in 16:9, but the majority of them are done in 4:3. Because of this, the DVD release of the season cropped the first batch of episodes in 16:9, cropping out the footage. This also applies to season 7 and 8 when stock footage from before Jack's stories was used.
    • The last seasons of the model series suffer from this due to the footage being in yellow.
  • VeggieTales:
    • The original two shows that were released on DVD seem not to be remastered for whatever odd reason as the ones after those were completely clean footage. So when it came to the 15th anniversary of Where's God When I'm S-Scared?, they tried fixing it by saturating the colors, but it ends up having a purple tint over the whole episode and some sound effects were missing (eg. the Psycho sting when the wisemen were taking Daniel away). The reason this is odd is because the Silly Song was restored for the "Ultimate Silly Song Countdown", done in the similar way from Are You My Neighbor? (show 3) onwards. So it's possible either the original masters were either stolen or are currently in possessions of someone. Speaking of the Silly Song, the audio for The Water Buffalo Song from the 15th anniversary release was taken from the live shows which is completely re-orchestrated and uses Larry's current voice. While one can understand why since Mike Nawrocki stated he disliked the old voice, the problem is that only parts of the old audio can be heard and the beginning bits of Archibald's lines were cut.
    • Sound effects that were heard in the original releases of earlier VeggieTales videos like Rack, Shack & Benny and Esther were removed for the VeggieTales Classics releases in 2002-2004.
    • Aside from the two films, the show never went into widescreen until Tomato Sawyer and Huckleberry Larry's Big River Rescue. Strangely, this move never came onto the DVD releases until Pistachio. So many of the compilations made after 2011 would either zoom in the footage from the pre-2008 shows or stretch the sides to match with the new footage. This also includes the Blu-ray releases of the pre-2008 episodes.
  • The music for the original two Muzzy in Gondoland is pitched down when it was released on DVD.
  • Cartoon Network uploaded the Cartoonstitute short Danger Planet in HD on their official YouTube channel, but the colors are way too bright compared to the original and there are glitches, such as severe ghosting showing the Danger Planet arcade machine frozen in midair when it falls at the beginning.
  • In November of 2017, Rainbow Brite was finally released on Region 1 DVD. However, all 13 episodes were taken from the UK home video release, and as a result, they suffer from the PAL speed up problem that currently plagues many of Filmation's productions as well as washed-out colors.
  • On October 31, 2018, an HD remaster of Garfield and Friends was issued on Boomerang, and fans weren't happy with the final results.
  • The current DVD release of A Boy Named Charlie Brown looks rather grainy, while the other Peanuts movies are much better-looking.
  • The Arabic dub of Blazing Dragons has this issue, as evidenced by the intro. The colors are way too bright and the picture looks a little blurry.
  • The Bob the Builder episode "Bob's Birthday" has some master tape damage (complete with digital artifacts popping up and loud distortion noise) on it's upload on the WildBrain Mega Machines YouTube channel (the tape error comes in at 3:17). Or it could've just been a DVD ripping error, as BBC iPlayer's version of the episode is fully intact without any errors.
  • Several episodes of Anatole uploaded to the Treehouse Direct YouTube channel were uploaded in partial master tape form (as in the video starts with color bars and a production slate, and the episodes cut off before they even end).
  • Sadly, Peacock ended up getting the PAL masters for The Twisted Tales of Felix the Cat when they began streaming the series. Besides the slightly higher speed and audio pitch, it's very obvious that these masters haven't been maintained well. The first episode, for starters, looks so incredibly fuzzy that it almost looks like it was taken from a VHS tape, and a few episodes have visible (though thankfully brief) tape damage. It's highly plausible that, given the obscurity of the show, these were the only masters NBCUniversal could find in their archives. That being said, most fans are fine with this since the series at least is back in circulation again after more than two decades.
  • On Tom and Jerry DVD releases, most cartoons shot in the CinemaScope format (mainly those near the end of the first series) have been cropped with Pan and Scan.
  • Airings of Madeline on qubo have the image yellowed due to master deterioration.
  • Many Dic Entertainment shows have suffered from this trope thanks to the masters not being maintained well. Examples include The Get Along Gang ("Half a Map Is Better Than None" has a noticeable grey tint in some portions), Inspector Gadget (half the colors are washed out in many releases), and The Real Ghostbusters (some episodes have noticeable tape damage, one episode has the brightness turned up on one release).
  • For the DVD release of the Fraggle Rock animated series, episodes 8-13 (except for episodes 9 and 10, "Laundry Never Lies/What Boober's Nose Knows" and "Mokey's Flood of Creativity/What the Doozers Did") are noticeably higher pitched (except for the intro, credits, and episode title cards), due being sourced and remastered from PAL prints.
  • When 101 Dalmatians: The Series was added to iTunes and Disney+, the intro sequence, title cards, and end credits were completely redone, making them stick out like a sore thumb compared to the rest of the over twenty-year-old show. The redone intro also features different animation that doesn't match up with the original version's animation, and only uses the "blue background" variation of the intro for all episodes, getting rid of the Couch Gag where six different versions of the intro had different episode clips shown and backgrounds used.
  • When Star Wars: Clone Wars was released to DVD in two volumes, the series was subject to awful DVNR, resulting in a blurry, jagged look that's nothing like what Genndy Tartakovsky intended (it's especially apparent when you look at the cel lines for each character or object). Disney+, despite billing it as having been remastered in high definition, used these exact same masters, complete with a 16;9 widescreen crop.


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