4K Blu-ray Confirmed, Coming in

[eriaur]

What is the RG 24 group?

[Penton-Man]

Originally Posted by eriaur

What is the RG 24 group?

https://www.itu.int/md/meetingdoc.as...source=RG%2024

[spectre08]

I eagerly await the first UHD blu-ray title shot in 4K or greater fully digital, with all VFX rendered in 4K and DI and master in 4K.

When is Fincher's next movie due?

[dvdmike]

Originally Posted by spectre08

I eagerly await the first UHD blu-ray title shot in 4K or greater fully digital, with all VFX rendered in 4K and DI and master in 4K.

When is Fincher's next movie due?

Yep, gone girl had better be in the next Fox wave.

But sicario is all 4k is it not

[spectre08]

Originally Posted by dvdmike

Yep, gone girl had better be in the next Fox wave.

But sicario is all 4k is it not

I will buy Gone Girl and GWTDT in 4K on day one and be watching them IMMEDIATELY.

They're going to look amazing and a half.

and Sicario is close. the closest thing we've seen yet, but at the end of the day it was still captured in 3.4K Arri Raw

[dvdmike]

Originally Posted by spectre08

I will buy Gone Girl and GWTDT in 4K on day one and be watching them IMMEDIATELY.

They're going to look amazing and a half.

and Sicario is close. the closest thing we've seen yet, but at the end of the day it was still captured in 3.4K Arri Raw

But with a signed off Deakins 4k finish

[spectre08]

Originally Posted by dvdmike

But with a signed off Deakins 4k finish

all well and good, but still an upres, even if a less severe one than from 2K.

Having Deakins' signature doesn't imbue it with some mystical math defying properties.

[Derb]

Originally Posted by Kris Deering

Define native? Meaning they had a 4K master? Skyfall had a 4K master and it wasn't captured native 4K. There are LOTS of movies with 4K masters that aren't truly end to end 4K. If that is your qualifier for purchasing a UHD Blu-ray you're gonna have a REALLY small collection at this point. If done right this format would have substantial benefits even if the movie was released in 1080p on it, people need to stop their obsessing with the master resolution, it is the most insignificant thing in the presentation and driven mainly be buzz marketing because they LOVE LOVE LOVE their numbers!

Captured 4K is Native 4K.

[Geoff D]

Originally Posted by eriaur

yep. I do not like the "delegating the SDR master" part. lots of HDR worries

After the initial "uh....wut?" reaction to that comment about DPs loving the HDR so much they won't even look at the SDR grade, I think the mention of netflix's Marco Polo is pertinent because it may well be in reference to online stuff more than it is TV or film, i.e. because these shows are being delivered primarily by this streaming system everything else is considered secondary so it's no wonder they don't care about the SDR grade. But for filmmakers who know that SDR presentations will still be the main source of viewing for the vast majority of the audience on cinema, TV and BD/DVD then they will still want to be involved if they care a jot about how people perceive their work.

Films don't just get one grade even now, as if it gets a 3D finish then that means a 3D pass for the theatrical finish at 3½ fL, another at 6 fL, then the 2D for 14 fL, then one for the home at 30 fL (roughly 100 nits), all of which require careful tweaking because what looks good in one might not necessarily translate to the other. I have a hard time believing that any responsible filmmaker will shirk the duties of the 100 nit grade just because the HDR version (which will only be seen by a fraction of cinemagoers) is so freakin' rad.

And the other part you quoted about HDR to SDR conversion is spot on, you can't just clip the output at 100 nits and call it a day if you want to retain any semblance of optimisation for the 100 nit version. The CRI conversion system that's in the UHD Blu spec uses dynamic metadata derived from the SDR grade - which any conscientious filmmaker will surely have signed off on, if not supervised in person - to remap the HDR to SDR with excellent results according to tests.

[Geoff D]

Originally Posted by spectre08

all well and good, but still an upres, even if a less severe one than from 2K.

Having Deakins' signature doesn't imbue it with some mystical math defying properties.

Who's math defying? I kinda doubt I'm gonna be sitting there watching Sicario in UHD and grumbling about how "it looks terrible, it really could've done with those extra pixels".

[Derb]

So I guess I will be watching BDs on my UHD BD player since there are not any 4K "Native" films to buy at launch.

Nobody had mentioned a single title.

[eriaur]

Originally Posted by Geoff D

After the initial "uh....wut?" reaction to that comment about DPs loving the HDR so much they won't even look at the SDR grade, I think the mention of netflix's Marco Polo is pertinent because it may well be in reference to online stuff more than it is TV or film, i.e. because these shows are being delivered primarily by this streaming system everything else is considered secondary so it's no wonder they don't care about the SDR grade. But for filmmakers who know that SDR presentations will still be the main source of viewing for the vast majority of the audience on cinema, TV and BD/DVD then they will still want to be involved if they care a jot about how people perceive their work.

Films don't just get one grade even now, as if it gets a 3D finish then that means a 3D pass for the theatrical finish at 3½ fL, another at 6 fL, then the 2D for 14 fL, then one for the home at 30 fL (roughly 100 nits), all of which require careful tweaking because what looks good in one might not necessarily translate to the other. I have a hard time believing that any responsible filmmaker will shirk the duties of the 100 nit grade just because the HDR version (which will only be seen by a fraction of cinemagoers) is so freakin' rad.

And the other part you quoted about HDR to SDR conversion is spot on, you can't just clip the output at 100 nits and call it a day if you want to retain any semblance of optimisation for the 100 nit version. The CRI conversion system that's in the UHD Blu spec uses dynamic metadata derived from the SDR grade - which any conscientious filmmaker will surely have signed off on, if not supervised in person - to remap the HDR to SDR with excellent results according to tests.

One extreme example, i guess is Avatar with 22 full color grades for the different aspect ratios and light levels.
The lead colorist on Avatar, is now at Technicolor:

The film’s finishing color-grading was led by Technicolor’s senior supervising finishing artist Steven J. Scott along with finishing artists Charles Bunnag, Michael Hatzer, and Ntana Key who worked with their core team. The core team, led by finishing producer Mike Dillion, finishing assistants Laura Holeman and Brandie Konopasek, finishing data assists Juan Flores, Chris Jensen, and Kevin Razo also contributed to the film. Supervising finishing editor Bob Schneider and finishing editor Carrie Oliver handled the film’s finishing editorial conform responsibilities, interfacing with the production’s editorial team led by editor Stephen Mirrione.
The Revenant was graded on Technicolor’s Autodesk’s Lustre (2015 ext3) using Christie’s 4220 4k projector. Technicolor created a master 4k DCP. The film’s Dolby master, awards-season screeners, and home-video version were finished by Skip Kimball.

[Spike M.]

Originally Posted by Geoff D

Who's math defying? I kinda doubt I'm gonna be sitting there watching Sicario in UHD and grumbling about how "it looks terrible, it really could've done with those extra pixels".

It tickles me when people act like they could actually tell 3.4K and 4K apart if they were given a blind (hehe) test.

[Geoff D]

Originally Posted by eriaur

One extreme example, i guess is Avatar with 22 full color grades for the different aspect ratios and light levels.
The lead colorist on Avatar, is now at Technicolor:

There you go! With that many potential grades on offer (having IMAX versions and different aspect ratios even for normal DCPs added to Avatar's complexity) I find it baffling that they'd shirk doing one more, but whatever. HDR seems to produce a kind of mania in many who are exposed to it, so maybe I'm just waiting my turn to be converted, 'Body Snatchers' style. And when mike turns up at the nearest SDR aid station, he'll be met with this:



Still, filmmakers will often use the same DITs and colourists when doing the grading because they've built up a relationship and they know what they want, so I guess there's something to be said for a certain class of "delegate" coming in and working on an HDR regrade or a 709 trim pass or whatever. If people like Skip Kimball, Mitch Paulson and Stephen Nakamura come in to do a regrade on behalf of whichever filmmaker (often having been closely involved with the original timing in the first place) then I wouldn't have a problem with that.

[Geoff D]

Originally Posted by Spike M.

It tickles me when people act like they could actually tell 3.4K and 4K apart if they were given a blind (hehe) test.

Bingo. This obession with numbers over what the final product actually looks like is all rather amusing. Admittedly we haven't yet seen UHD Blu with its myriad of sources (2K, 2.8K, 4K etc) in action so I may yet eat my words and will be pining oh so sadly for those 'lost' pixels but until then my mirth will remain.

[dvdmike]

Originally Posted by Geoff D

There you go! With that many potential grades on offer (having IMAX versions and different aspect ratios even for normal DCPs added to Avatar's complexity) I find it baffling that they'd shirk doing one more, but whatever. HDR seems to produce a kind of mania in many who are exposed to it, so maybe I'm just waiting my turn to be converted, 'Body Snatchers' style. And when mike turns up at the nearest SDR aid station, he'll be met with this:



Still, filmmakers will often use the same DITs and colourists when doing the grading because they've built up a relationship and they know what they want, so I guess there's something to be said for a certain class of "delegate" coming in and working on an HDR regrade or a 709 trim pass or whatever. If people like Skip Kimball, Mitch Paulson and Stephen Nakamura come in to do a regrade on behalf of whichever filmmaker (often having been closely involved with the original timing in the first place) then I wouldn't have a problem with that.

Aid station, I now own a HDR 4k TV..............


Where is this aid station?

[RedIsNotBlue]

Any idea when we will actually start seeing reviews for the first wave of UHD Blu-rays?

[Geoff D]

Originally Posted by dvdmike

Aid station, I now own a HDR 4k TV..............


Where is this aid station?

What one did you actually buy, I've got all these random messages in my PMs but I'm none the wiser.

[bailey1987]

Originally Posted by spectre08

When is Fincher's next movie due?

What was Zodiac shot in? I still think the Blu-ray looks amazing and I love the film. I will definitely re buy this if it sees a release on Ultra HD Blu-ray.

[Frank@Chicago]

Originally Posted by Derb

So I guess I will be watching BDs on my UHD BD player since there are not any 4K "Native" films to buy at launch.

Nobody had mentioned a single title.

I tried to paste in a boxshot of Smurfs 2 and failed miserably...

But seriously, if I was getting something Day One I'd probably trust Sony to put out a good disc.