Let's get the framing issues out of the way first. Would it have been better to have had this series in 1.33:1? Probably. But business being what it is, and Fremantle's need to recoup their very substantial restoration costs by relicensing this series for broadcast made the 16:9 decision inevitable. What is striking about this reframing is how carefully it was done, at least for the most part. As the restoration featurette shows quite clearly, this was not an automated situation where the original 1.33:1 image was simply blown up to become 1.78:1. Actual people, not machines, supervised this process, often frame by frame, making sure the salient information was kept in the image. For about 95% of the time, this effort is largely commendable. Unfortunately, the contemporary interview segments do look rather silly, with up to one quarter of any given individual's forehead and/or chin lopped off the image. In perhaps a less important issue, the opening Thames TV logo now cuts the top of the spire off of St. Paul's Cathedral. But otherwise, the framing has been handled spectacularly smartly.