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M-A wrote: Fri Sep 16, 2022 12:11 amYes, I believe that the 90s mix (the one included on the german 4k) is a recreation of the original mix supervised by the original mixers after the 1979 mix was presumed lost, so it technically is not the original audio, but it is the closest thing

EddieLarkin wrote: Thu Sep 15, 2022 7:31 pm The US (and UK) Apocalypse Now UHDs have Atmos only on all 3 cuts. Frustratingly, the packaged in Blu-ray of the theatrical cut DOES include the original 5.1. This same 5.1 is available on the German UHD theatrical cut.

Shout! Factory’s new UHD release of THE FOG uses the same 4K master that the previous StudioCanal version did, but thankfully it seems to be a different encode. There isn’t much in the way of compression artifacts this time, and the HDR10 layer seems to work properly. Everything is as sharp as the original anamorphic lenses would allow, and both the grain and the fog itself seem to be managed well throughout. The HDR grade improves the contrast range, with very deep blacks, but no crushed detail within them. When things get hot with Blake and Malone during the finale, they get really hot. The biggest surprise is that the expanded contrast and color gamut improves even more mundane moments during the film. When a shadow from a cloud passes over Stevie Wayne’s house at 26:17, the shadow seems deeper, with the foliage more refined both within it and without it. It’s a subtle improvement, but it really does make a difference.

Finch wrote: Tue Sep 20, 2022 10:14 pm Vinegar Syndrome's UHD of Cloak and Dagger has compression and grading issues.

The compression looked airtight to me, no overt blocking or banding or chroma nastiness anywhere. It's just typical that Poltergeist gets a gorgeously unfudged restoration but the encoding to UHD is somewhat brittle, whereas Lost Boys gets a good fudging and the compression is stellar! It helps that the latter is a shorter movie than the former so there's more room to groove even on a UHD66, it helps that it's been "grain managed" so the noisy randomisation of the grain is tamped down, but even so: it takes the piss. Neither Lost Boys or Poltergeist is a bad effort in those respective areas though, I have to make that absolutely clear once again, it's just a shame that we rarely get a combination of a tasteful, respectful remaster AND a solid compression job from several major studios these days. Yes I'm doing my Goldilocks bit, deal with it.

I am still pleased with Lost Boys' UHD however. Warners have done some tweakery to the grain without totally negating its filmic origins, select scenes aside, and the new transfer & grading completely revitalises the image compared to the extremely haggard old Blu. It's amazing how these remasters seem to remove a veil from proceedings, for if you watch something on a crusty old transfer then it feels more of its time, like a dusty relic which still has its charms for some people but which seems to badly date the content. But on these 4K transfers, wow, it's like having a time machine. Instead of making it look like It Was Filmed Yesterday™, it turns it into a window into the past, it's like you're there instead of having the imagery refracted through the substandard home video processes of whatever period. People may well say that about 4K HDR in another 35 years, that it was just a fad of the time, but in the here and now we've never had it so good. Alas, that the new Blu-ray fared as well, after the excellence of Poltergeist's new Blu I was expecting much betterer than this, the SDR conversion is too hinky for my liking.

rrenault wrote: Thu Sep 22, 2022 2:30 pm Not to be nit picky about typos, but the distributor for La Règle du Jeu is ESC rather than EMS, which is how it's written in the column of reference titles. Also, you have Le Cercle Rouge written "Le Circle Rouge" in the "solid upgrade" column. Just wanted to point these out.

As solid as the base presentation is it’s the application of HDR that ends up giving things the push it needs. Shadows look better here in comparison to the Blu-ray’s presentation, where the shadows can be slightly murkier. Blacks come out looking a bit richer and deeper while the gradients moving into the light are cleaner, pushing out a little more detail in the process. The film can look a bit “darker” in comparison to the Blu-ray presentation, but I felt the colours here managed to show more vibrancy in a few sequences (where the palette allows). HDR is also nicely used to enhance the highlights in the film’s darker concert sequences, from the light bouncing off Riz Ahmed’s character to it going through his bleached hair. It’s very striking.