Exodus, which has exactly the same content as the original album, but in new packaging. In many cases, successful film releases have had items made in limited numbers. These "limited editions" usually contain the best DVD edition possible of a film with special items in a box set, sometimes containing items available only in the limited edition. Items marked thus are often (but not always) released for a shorter time and in lower quantity than common editions, often with a running number (e.g. "13055 of 20000") printed on the products to boost the rarity feel, as the company implies not to manufacture more. It is also common to have such items packaged with unique designs. With the success of DVDs, special editions of films themselves (instead of just special editions of film DVDs) have also become fairly common. Sharing similarities with the concept of a director's cut (another long-suffering inflation-by-marketing term). These generally feature additional in-movie material. The material may be footage originally deleted from the final cut, or new digitally-created, interpolated content. Unlike true director's cuts, the directors may not have had part in such projects, such as in Superman II: The Richard Donner Cut, in which Richard Donner did not help create the new version, just supply the material. The Doctor Who television movie The Five Doctors was edited, recut, amongst various other changes, to make the "Special Edition" in 1999 for the first DVD release of the episode. Limited edition prints Limited edition prints, also known as LEs, have been standard in printmaking from the nineteenth century onwards. A limit to the print run is crucial, as many traditional printmaking techniques can only produce a limited number of best quality impressions. This can be as few as ten or twenty for a technique like drypoint, but more commonly would be in the low hundreds - print runs of over a thousand are regarded as dubious by the serious art market for original prints, even though with many techniques there is no loss of quality. Edition sizes higher than about 500 are likely to be of print reproductions of paintings, of much less value, though some modern techniques blur this traditional distinction. As in other fields, the use of the concept has become largely driven by marketing imperatives, and has been misused in parts of the market. In particular, lithographic, photogravure, rotogravure, and giclee reproductions of prints, derived