Yeah like the "newly remastered" upcoming T2 4K disc that will be the same waxy DNR transfer as the previous release.
The Blu-Ray Upcoming, News & Info Thread
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I'm reading this more along the lines that they're just releasing the movies in collections, and not that they're remastering them. If they are remastered, I might have to upgrade my Raimi trilogy, but my ASM1 will forever be alone as I'll never by ASM2.
jye4ever
Broke and happy
Remember that the superior cut of S2 has yet to be released in 4K same goes for S3 directors cut!
I would buy both is those for sure. I saw SM2 at the cinema six times with anyone I could convince to see it with me, so a superior cut will be a new experience.
jye4ever
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Blade 4K $10 at BB
Always bet on whi……black!
Always bet on whi……black!
punisher1974
Super Freak
That's a great price. Love Blade.
jye4ever
Broke and happy
Indy is $58 and LOTR is $60 right now on Amazon!
IMAX Raiders will never work.
To get a tall picture, you basically lose the sides. I like wide. Girth.
To get a tall picture, you basically lose the sides. I like wide. Girth.
jye4ever
Broke and happy
Indy 4K box set $50 Amazon hurry!
Indy sucks now.
jye4ever
Broke and happy
I finally got around to buying the Martian extended edition I’ve never watched that version and for $10 not bad it’s a shame that the 3-D is not the extended version though.
Is the extended edition even better because I already enjoyed the theatrical does it change the movie any?
Martian > Ad Asner
Is the extended edition even better because I already enjoyed the theatrical does it change the movie any?
Martian > Ad Asner
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I know the 4K Star Wars movies are not true 4K, but is there any reason to get ANH or ESB in 4K?
Any great 4K movies out there right now?
Any great 4K movies out there right now?
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The OT are the best and most film like they have ever looked outside the cinema, putting aside all those pesky SE changes. There is more detail, they look like films and not something digitally scrubbed and the colors are strong but not over done they seem to have dialled back slightly from the blurays. Blacks are blacks, one of my favorite things about 4K after years and years of grey blacks.
Re other films, there are stacks: I’m constantly watching Spiderman Into The Spider-Verse, that’s maybe the most flat out beautiful film, I just pause it sometimes to take it in, but I’ve also watched recently and was blown away by how good The Thing and Taxi Driver looked. Knives Out was another recent one that looks terrific.
Really? So ANH and ESB are worth the repurchase to go from bluray to faux 4K?
The Thing is a good call. I don't have that yet on bluray. I wan't even aware they put that movie on 4K yet. Amazing.
Thanks!
The Thing is a good call. I don't have that yet on bluray. I wan't even aware they put that movie on 4K yet. Amazing.
Thanks!
Who said that the Star Wars 4K's aren't real 4K?
The OT are all remastered from film source at 4K, the prequels on the other hand were mastered at 2K or less so while those aren't going to get as much of an improvement going to 4K at the very least you get them with HDR and Dolby Atmos audio.
The OT are all remastered from film source at 4K, the prequels on the other hand were mastered at 2K or less so while those aren't going to get as much of an improvement going to 4K at the very least you get them with HDR and Dolby Atmos audio.
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I think so. I always thought the color on the blurays were off, skin tones were too pink. The canyon scene with R2 in ANH was when I first realised something was wrong, the colors were just way too dramatic.
And technically speaking (go to Bill Hunt’s review for more detail), these are new 4K scans from the negative, the blurays are 15 year old 2K scans.
And technically speaking (go to Bill Hunt’s review for more detail), these are new 4K scans from the negative, the blurays are 15 year old 2K scans.
RetroBlasting.
How can we be sure where they were made from? Special Editions were 2K.
Reading Bill Hunt's review now.
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Here, from Bill Hunt’s review:
Star Wars (now known as A New Hope) was shot on 35 mm photochemical film using Arriflex and Panavision cameras with Panavision C-Series anamorphic lenses, while its analog visual effects were produced in VistaVision. It was finished on film as a cut negative at the 2.39:1 aspect ratio, from which a color-timed master interpositive and dupe negatives were created. For the 1997 Special Edition release, the cut negative was scanned in 2K, new digital VFX were produced at sub-2K resolution, and a new film-out master interpositive element was created. This process was repeated in 2003-2004 by Lowry Digital, with a new 10-bit 2K scan done for the DVD release (complete with more digital VFX tweaks and a color grade supervised by Lucas), resulting in the creation of a 2K Digital Intermediate. This source was used again for the 2011 Blu-ray release, though with a bit more Lowry Digital remastering (and still more new digital VFX and color timing tweaks).
As many of you know, around this time there was a plan to bring all of the films to theaters in 3D—a plan that was posponed and eventually scrapped after the The Phantom Menace 3D release, as Lucas was focused on selling the Star Wars franchise to Disney. In the wake of Disney’s purchase in 2012, a decision was made to protect the studio’s investment by creating new 4K Digital Intermediates of the films and to ensure that all of the photochemical and digital assets were properly cataloged and preserved (a process that continued through 2014). For Star Wars, Empire, and Jedi, all of the original camera neg, the VistaVision effects footage, and SEfilm-outs was scanned in 16-bit 4K by Reliance MediaWorks (formerly Lowry Digital). Lucas once again took the opportunity to tweak the editing, digital VFX, and color timing. In addition to the new 4K DIs, new film-out protection master interpositives were created. New cut negatives were created as well, combining the original camera negative with film-out internegative of the new VFX. (This is why it’s often said that the original theatrical versions technically no longer exist—the OCN has been conformed to the new versions. However, I’ve confirmed with individuals directly responsible that everything—including all theatrical film trims—is well preserved and protected by Disney.) The studio’s new Ultra HD releases (and the recent Disney+ versions) were mastered from these 4K DIs, complete with color grading for high dynamic range (only HDR10 is available on the discs, but Dolby Vision is available on the Digital version).
Disney’s 4K disc presentation obviously includes all the latest tweaks and changes seen in the Disney+ version, but the image quality is superior in every respect. (Note that the 20th Century Fox logo remains intact.) The average datarate is in the 60-70 Mbps range (vs 15-25 Mbps via streaming) and that extra bandwidth makes a huge difference. Detail is clean, apart from the occasional optical softness, with mostly well refined fine detail and texturing. Photochemical grain is extremely light, suggesting a bit of DNR applied. This is also a very restrained high dynamic range grade, which might surprise some people, but it means that the film’s original theatrical appearance is well maintained. Peak brightness is 1000 nits with a deep floor (per the disc’s metadata), so the shadows are inky-black while retaining nice detail. The 10-bit color adds genuinely impressive but subtle nuances to the film’s palette. Skin tones are natural, C-3PO’s gold plating has a rich luster, the sands of the Tatooine desert exhibit a greater variation that you’ll have appreciated before. It appears that some extra “film-look” processing has been done to the 1997 and 2004 Special Edition footage, so that while it’s still obviously of lesser resolution than the live action footage (with more DNR and some edge enhancement baked in), the differences are a bit less glaring than they were on the previous Blu-ray release. This image isn’t perfect, but it’s quite simply the best this film has ever looked in the home.
Star Wars (now known as A New Hope) was shot on 35 mm photochemical film using Arriflex and Panavision cameras with Panavision C-Series anamorphic lenses, while its analog visual effects were produced in VistaVision. It was finished on film as a cut negative at the 2.39:1 aspect ratio, from which a color-timed master interpositive and dupe negatives were created. For the 1997 Special Edition release, the cut negative was scanned in 2K, new digital VFX were produced at sub-2K resolution, and a new film-out master interpositive element was created. This process was repeated in 2003-2004 by Lowry Digital, with a new 10-bit 2K scan done for the DVD release (complete with more digital VFX tweaks and a color grade supervised by Lucas), resulting in the creation of a 2K Digital Intermediate. This source was used again for the 2011 Blu-ray release, though with a bit more Lowry Digital remastering (and still more new digital VFX and color timing tweaks).
As many of you know, around this time there was a plan to bring all of the films to theaters in 3D—a plan that was posponed and eventually scrapped after the The Phantom Menace 3D release, as Lucas was focused on selling the Star Wars franchise to Disney. In the wake of Disney’s purchase in 2012, a decision was made to protect the studio’s investment by creating new 4K Digital Intermediates of the films and to ensure that all of the photochemical and digital assets were properly cataloged and preserved (a process that continued through 2014). For Star Wars, Empire, and Jedi, all of the original camera neg, the VistaVision effects footage, and SEfilm-outs was scanned in 16-bit 4K by Reliance MediaWorks (formerly Lowry Digital). Lucas once again took the opportunity to tweak the editing, digital VFX, and color timing. In addition to the new 4K DIs, new film-out protection master interpositives were created. New cut negatives were created as well, combining the original camera negative with film-out internegative of the new VFX. (This is why it’s often said that the original theatrical versions technically no longer exist—the OCN has been conformed to the new versions. However, I’ve confirmed with individuals directly responsible that everything—including all theatrical film trims—is well preserved and protected by Disney.) The studio’s new Ultra HD releases (and the recent Disney+ versions) were mastered from these 4K DIs, complete with color grading for high dynamic range (only HDR10 is available on the discs, but Dolby Vision is available on the Digital version).
Disney’s 4K disc presentation obviously includes all the latest tweaks and changes seen in the Disney+ version, but the image quality is superior in every respect. (Note that the 20th Century Fox logo remains intact.) The average datarate is in the 60-70 Mbps range (vs 15-25 Mbps via streaming) and that extra bandwidth makes a huge difference. Detail is clean, apart from the occasional optical softness, with mostly well refined fine detail and texturing. Photochemical grain is extremely light, suggesting a bit of DNR applied. This is also a very restrained high dynamic range grade, which might surprise some people, but it means that the film’s original theatrical appearance is well maintained. Peak brightness is 1000 nits with a deep floor (per the disc’s metadata), so the shadows are inky-black while retaining nice detail. The 10-bit color adds genuinely impressive but subtle nuances to the film’s palette. Skin tones are natural, C-3PO’s gold plating has a rich luster, the sands of the Tatooine desert exhibit a greater variation that you’ll have appreciated before. It appears that some extra “film-look” processing has been done to the 1997 and 2004 Special Edition footage, so that while it’s still obviously of lesser resolution than the live action footage (with more DNR and some edge enhancement baked in), the differences are a bit less glaring than they were on the previous Blu-ray release. This image isn’t perfect, but it’s quite simply the best this film has ever looked in the home.
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