Emilio wrote:Try not to spill the Kool-Aid, or were you being sarcastic?
I wasn't sarcastic at all, quite the opposite actually.
I truly find it flabbergasting (and fascinating somehow) for the UHD to be launched with a whole bunch of titles which aren't even sourced from a native 4K master. It seems just silly overall. There are movies who have 4K DIs, why not using these instead ?
(on the other end, Skyfall had a 4K DI despite being shot at 2.8K, so...).
There is an article on Highdefdigest summing this up :
http://www.highdefdigest.com/blog/ultra ... always-4k/" onclick="window.open(this.href);return false;
Every single film that Warner plans to release on the 4k Ultra HD format is a 2k movie.
When adding FOX,
that’s 13 launch titles from two major studios, and only a single movie was actually produced at 4k resolution and even that one was mostly photographed in 2k
However,
‘The Amazing Spider-Man 2’ – Shot on 35mm, with a 4k DI
‘Chappie’ – Shot in 5k, with a 4k DI
‘Hancock’ – Shot on 35mm, with a 4k DI
‘Salt’ – Shot on 35mm, with a 4k DI
‘The Smurfs 2’ – Shot in 4k, with a 4k DI
Elysium also had a 4K DI from a 3.3K shooting, so it would have been better than all of those 13 titles.
Brian C wrote:Look at the contortions they have to go through to justify calling it 4K.
"We had a Blu Ray, we downgraded the picture to DVD resolution, and then we uprezzed it again to HD. It must thus be HD ! Or, and there's something else which was done by some professional guys who doesn't have anything to do with resolution but hey ! IT WAS DONE BY PROFESSIONAL GUYS !"
What stuns me the most though is how much communication is shifting more and more from the increased resolution to the HDR and color reproduction (while forgetting to remind everyone that the 2-steps norm makes many 1st Gen UHD TV limited in this specific area).
I alos read a fascinating discussion on homecinema-fr about how UHD video-projectors might have difficulties to reach the peak whites needed to properly exploit HDR... except by using algorithms allowing to remap the whole color grading but adapted to the video-projector (which is what Dolby Vision algorithm seems to be doing, but that comes with a cost).
Plenty of fun at the horizon !
I also wish plenty of luck to all the studios to get the movies' colorists to do frame-by-frame adjustments for each of their UHD releases. I guess these guys have plenty of free time.