**** off with that streaming shit and give us some of your classics like The Terminator, RoboCop, Rocky, The Great Escape on 4K UHD Blu-ray. You could also revisit that quirky little franchise starring that British super-spy, you know the one we mean.
You can't see the difference in the linked pictures, or you can't see the difference in so many others that are similarly tellow/gray pushed?
There's another thread here that discusses it but I don't have time to find it.
The reason I brought it up here, is to add an indicator in one of the 4K lists to show which ones are VERY DIFFERENT from the ORIGINAL COLOUR PALETTE, to help buyers at least be pre-warned.
It appears to be some Studios doing this AND SOME NOT, but I have not surveyed myself, just heard that somewhere else.
I do however confirm that afte seeing about 20-30 4K UHD Blu-rays, I would say that 80% at least had VERY YELLOW shifted colour palettes, and very different from the original
This absolutely nothing new. Most blu rays were regraded as well. The Matrix, for instance, never looked the way it did in the theater on home video.
Aliens now has a green push instead of a blue hue.
I'm not happy about it, but this is not a new occurance.
There is even a guy on the FanEdit sites, whose Fanedits are only about regrading film's color palettes back to their original scheme.
For those wondering on the VFX resolution on Netflix Originals:
Quote:
Dailies Requirements
For all scripted projects, on-set or near-set dailies services are required in order to provide efficiency for downstream processes.
Color & Sync:
Production sound must be synced to camera footage for editorial media.
Color should be applied, following the color pipeline defined above.
If CDLs exist, they must be applied before the LUT.
No secondaries, power windows, or keys in dailies.
Grading monitor must be calibrated to Rec.709 / BT.1886 standard, or equivalent HDR standard (i.e. SMPTE ST.2084).
Editorial and Review Proxies & Metadata:
ALEs / BINs must be generated with all camera and sound metadata including columns with CDLs and LUT names.
Editorial media and proxy deliverables must be generated from original camera RAW files, not from a secondary proxy.
Back-up / Data Verification:
Two or more back-up copies of all original camera footage and audio with MD5 checksums must be generated.
Footage must be QC’d for possible issues, referencing camera reports with scene/take information.
Archival of camera RAW footage, audio, and color information should maintain original directory structure, filenames, and metadata that were created by the cameras, audio recording devices, and dailies software to one or more of the following:
LTO-5, LTO-6 or LTO-7 tape in LTFS format
Netflix’s cloud-based Content Hub
High-speed RAID-protected external hard-drive
Once multiple backups are complete and verified at another location, the camera magazines / recording media may be cleared.
Post-Production Requirements
Conform & VFX
Framing chart must be placed at the head of all timelines (per episode / reel).
Conform and VFX pulls must be: Minimum resolution of 4K.
One of the following file formats:
16-bit EXR (.exr) in ACES, or camera’s Linear color space
10-bit DPX (.dpx) in the camera’s Log color space
VFX pulls should include CDLs, LUT (if any), and dailies color reference.
Round-trip tests should be run to verify dailies color match between VFX and editorial.
EDLs, AAFs, or XMLs should reference back to original 4K files for the online conform.
Proxy or intermediate files should only be used for reference during editing, previews, and/or audio-dub/timed-text generation.
IMF Master
IMF must be generated from a final uncompressed Video Master (i.e. DPX, EXR, or TIFF) and not from a compressed file (i.e. ProRes, DNX).
Resolutions supported:
UHD: 3840x2160
4K: 4096x2160 (if finished in 4K or higher)
See our Originals Delivery Specifications for full IMF specifications.
Archival Elements
Framing chart must be placed at the head of all archival masters (per episode / reel).
Textless sections must be provided for all archival masters.
Picture:
NAM - Non-graded Archival Master
Ungraded in Working Color Space (Log or Linear)
GAM - Graded Archival Master
Please see Color Pipeline diagram above for details on this asset.
Graded in Working Color Space (Log or Linear)
LUTs or ACES Version must be included in archival package
VDM - Video Display Master
Graded in Display Color Space (Rec.709, PQ, DCDM)
Color grading projects (Example: Resolve .drp, Baselight .blscene)
Audio:
All final sound mixes (near-field 5.1 and 2.0), Stems, M&Es
Additional pre-dubs and other elements as negotiated or upon request
48kHz/24-bit minimum, 96kHz/24-bit preferred
Audio mixing/mastering projects (Pro Tools sessions)
Editorial projects (Avid bins,EDL/AAFs, Final Cut Pro .fcp/.fcpx, Premiere Pro .prproj, etc.)
Editor’s assembly
Director’s cut
Any preview cuts
Final cut
This was a couple of days online in Version 2.1. Meanwhile Netflix just updated their specs to Version 3.0 and also approved the ARRI ALEXA LF shooting in ARRIRAW or ProRes4444 XQ
Quote:
Cameras and Image Capture
Camera Requirements
4K Resolution:
Camera must have a true 4K sensor (equal to or greater than 3840 photosites wide).
Recording Format:
Minimum of 16-bit Linear or 10-bit Log processing
Bitrate of at least 240 Mbps (at 23.98/24 fps) recording
Recording format must be set to either:
RAW (uncompressed or lightly compressed sensor data)
Log color space (i.e. S-Log3, V-Log, CanonLog3, REDLogFilm, BMDLog, LogC, etc.)
No looks or color corrections should be baked into the original camera files.
Files must maintain all metadata (i.e. Tape Name, Timecode, Frame Rate, ISO, WB, etc.)
Black Balancing:
Black balancing of camera sensors should be done daily, when the camera is at normal operating temperature. See specific black balancing instructions in the camera operating manual.
Aspect Ratio / Framing:
Aspect ratios greater than 2.00:1 must be evaluated and discussed with Netflix for approval.
Framing chart must be shot before principal photography begins, and processed through the dailies pipeline which will be shared with editorial, post-production, and VFX.
Secondary Cameras:
Any cameras other than the primary camera (crash, POV, drone, underwater, etc.) must be approved by Netflix.
Test footage should be shot and provided to dailies and post-production to ensure compatibility with primary camera.
Approved Cameras
The cameras listed below meet the minimum resolution and recording requirements listed above. This list is not exhaustive; additional approved cameras may be available.
Yes, I read an article about the Star Trek-spoof episode of Black Mirror a few weeks back and in that they talked about having to deliver the spaceship VFX in 4K.
I can see the differences in the linked pictures, but I can't ascribe much to them, as they're converted from HDR (with an unknown provenance) and because none of them are of the same frame or, often, even the same scene.
What I was saying 'no' to is your assertion that I can see a yellow push in ~80% of UHD releases. I don't know where you're buying your discs, but mine don't have that issue.
I can't understand why some people notice the difference and others don't it's VERY WEIRD.... I personally find it RIDICULOUS and in comparison about 80% of the 4K releases are like chalk and cheese by comparison (the 4K transfers being a horrible faded yellow compared to the original)
This absolutely nothing new. Most blu rays were regraded as well. The Matrix, for instance, never looked the way it did in the theater on home video.
Aliens now has a green push instead of a blue hue.
I'm not happy about it, but this is not a new occurance.
There is even a guy on the FanEdit sites, whose Fanedits are only about regrading film's color palettes back to their original scheme.
Interesting that you say that. I've notice minor changes in the past, but nothing as consistent and destructive as what I am seeing in the majority of 4K releases.
Here's the link where people here have discussed it. All I asked for is an indicator in the 4K list, to save people buying transfers that have this yellow shift, and give them a headsup so they don't buy some and regret it....
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