List of 4K film transfers on Blu-ray shot on film (non-digitally shot)

[Penton-Man]

Originally Posted by L'armée des ombres

To bad that there is no Blu-ray release too link to.

Well shucks, I owe you one then…
https://forum.blu-ray.com/showthread...ie#post4432214

[Penton-Man]

^ P.S.
Seems the last two videoclips that I’ve hyperlinked have ‘expired’ over time .

Aaron’s flick deserves a visual promotion for he is one of the few Directors who was/is a Cinematographer first (amongst other things 2nd unit D.P. on Titanic), and the character played by Robert Duvall, well -

Get Low with Bill Murray and Robert Duvall - YouTube

[Kryptonic]

Originally Posted by HeavyHitter

There is no source for it. Even the promotional content for the BD set only referenced Raiders.

It's quite interesting how difficult it is to find a source for several movies which were always deemed to have 4K transfers.

They certainly look like 4k transfers, just as good as Raiders.

[Penton-Man]

Originally Posted by Tns49

As DarknessBDJM said it (How the West Was Won) was mastered at 6k (after 2k scans of each of the three frames that made up the actual movie frame).

Originally Posted by L'armée des ombres

Link please

Nobody get a link yet? Well, I’m sure that EGM did a piece on that interviewing the MPI team (at the time).

Try googling either ‘Editors Guild Magazine Bill Baggelaar ‘ or ‘Editors Guild Magazine Ray Grabowski’…..that might help find it and also significantly filter out the noisy options.

[HeavyHitter]

Originally Posted by Kryptonic

They certainly look like 4k transfers, just as good as Raiders.

And they might be. I just checked the Home Theater mag website and their review makes no mention of 4K for the others.

But, Raiders does look more natural and organic.

I agree the second and third look very good, but there is some very slight EE going on at times making the images look a wee bit digital compared to definitive 4K transfers I have seen.

Raiders looks like pure film.

[Penton-Man]

Originally Posted by Penton-Man

MPI...

Which ^ reminds me, I previously posted somewhere in Club Penton back in ’09, a slightly abbreviated version of this (now bolding in black for quick L'armée reference…in red for food for thought) –

The digital intermediate for Ocean's Thirteen was made February-April
2007 at Warner Bros. Motion Picture Imaging (MPI) in Burbank. Original
camera negative (mostly Kodak 5218) was assembled as lab rolls for
dailies telecine, and these rolls were the source of the Dl scans. Camera
format was Super 35mm 2.40 common top (.945x.394). Please reference
the master Ocean's Thirteen framing chart in verifying the framing of all versions.

Scanning for the Dl was on a Spirit 4k at 4096x3112 resolution to .dpx,
10-bit log files. Visual effects were delivered to MPI as data.

Color correction was done on a FilmLight Baselight EIGHT, viewed on a
Christie 2k DLP projector in the DCDM_XYZ_239 color space. Final
rendered 4k files of the 2.40 data from The Baselight was formatted for
4096x1742 (matching .866x.732. outside the projectable image area
of .825x.690). including all color correction.

FILM OUTS:
Film out was done on ArriLaser recorders, anamorphically scaled in-
camera to 4096x3484. recording to Kodak 2242 Estar intermediate stock
for printing on Kodak Vision 2383. Printing was done to LAD aims
109-106-103 using the 470 LAD patch.

Multiple original digital negatives were output for North American release
printing An additional negative was used solely to create photochemical
IPs/INs for printing outside of the U.S.; this negative should be
considered the "god" film element for Ocean's Thirteen due to its pristine condition.

Black and white YCM separation protection masters were made to
Kodak 2238. full-aperture, texted, as negative. A separate reel was made
of textless shots.

----------
VIDEO/DIGITAL CINEMA VERSIONS:

The data in the Baselight EIGHT was also rendered to 4k full aperture
(4096x3112) files, which were then used as the source for all home video
and digital cinema versions.

The Digital Cinema Package for distribution was created at MPI to the
DCI v1.0 spec. DCDM TIFF 4k XYZ TIFF flies were generated to create
the JPEG2000 MXF-wrapped files, along with the MXF-wrapped
Broadcast Wave 5.1 audio files.

----------

DATA BACKUPS:
Each of the three version of the data - 4k formatted for 2.40 film out; 4k
full aperture; 2k full aperture (for Rec 709)- was backed up to two sets
of LTO 3 data tapes. Recording was done in the tar format, per SMPTE
recommended practices, with one tar per frame.

The names of the files follow this basic syntax:
O13_nk_format_colorspace_Rnn_yymmdd_ccn.ffffff.dpx ,
where: There is a block for resolution (2k or 4k), framing ("Scope" for an
anamorphic image on the Academy center, "Full Ap" for full aperture as in
the camera negative) and color space (RGB or 709); Reels are
expressed as two-digit numbers with leading zeroes; the date of the
render, with the number after the "cc" being the color correction version
The six-digit frame number begins with 000000 on the "Picture Start"
frame in the leader, with 000192 being the first frame of picture in the
reel (corresponding to 12+00/01:00:08:00 in normal film-speak).

Thus, for the first frame of Reel 1:
O13_4k_Scope_RGB_R01_070415_cc8.000192.dpx
O13_4k_FullAp_RGB_R01_070415_cc8.000192.dpx
O13_2k_FullAp_709_R01_070415_cc8.000192.dpx

Because all of these versions were done under the control of
director/director of photography Steven Soderbergh no one in the
future should endeavor to conform and re-scan the film negative and
re-color time the film to potentially take advantage of any improvements
in scanning and digital intermediate technology. His decisions were
rendered onto the film-outs, and the various data and video versions,
and should be considered definitive and final.

[L'armée des ombres]

Originally Posted by Penton-Man

Scanning for the Dl was on a Spirit 4k at 4096x3112 resolution to .dpx,
10-bit log files. Visual effects were delivered to MPI as data.

Yet they manage too make it look soooooo bad

[Penton-Man]

Originally Posted by L'armée des ombres

Yet they manage too make it look soooooo bad

Not my problem.

P.S.
I'm recruiting people for you now .
https://forum.blu-ray.com/showthread...84#post7466284

[L'armée des ombres]

Originally Posted by Penton-Man

Not my problem.

I know, thanx for your input here Penton-Man

[Penton-Man]

Originally Posted by L'armée des ombres

I know, thanx for your input here Penton-Man

Well, I don't want to get into that anyway because the *look* to which I think you're referring to is more related to *Director vision*.

Hey, I notice there is no representation in your list for P’s, like in Penton.
We must remedy that.

Priest

[Penton-Man]

Well, I see joliefan never came-a-calling so I guess he hasn’t seen the challenge or is being a little obstinate. Regardless, L'armée, in order to keep the show on the road, you can add The Tourist.

You know, you’ve already compiled the most comprehensive list of its kind on Blu-ray.com and I wouldn’t be at all surprised if on all of the internet, so when this thread begins to peter out, you may want to think about petitioning the main mod here, or Deci, to make this a sticky thread as it could prove very helpful for future reference to new membership, for if not, these threads tend to slip into oblivion over time.

Another thing to reconsider is that once all the contributors have exhausted all the possible film -> high-rez digital masters, you could always open it up to include 4K digital acquisition -> 4K finishing and maybe simply color code those particular (digital camera) titles if the differentiation is of some importance.

Just some thoughts.

[L'armée des ombres]

Originally Posted by Penton-Man

Well, I see joliefan never came-a-calling so I guess he hasn’t seen the challenge or is being a little obstinate. Regardless, L'armée, in order to keep the show on the road, you can add The Tourist.

You know, you’ve already compiled the most comprehensive list of its kind on Blu-ray.com and I wouldn’t be at all surprised if on all of the internet, so when this thread begins to peter out, you may want to think about petitioning the main mod here, or Deci, to make this a sticky thread as it could prove very helpful for future reference to new membership, for if not, these threads tend to slip into oblivion over time.

Another thing to reconsider is that once all the contributors have exhausted all the possible film -> high-rez digital masters, you could always open it up to include 4K digital acquisition -> 4K finishing and maybe simply color code those particular (digital camera) titles if the differentiation is of some importance.

Just some thoughts.

Thanks for your thoughts...already asked for a sticky
On making this a full on 4K thread we will see....i'm open to expand this.
Let's wait on it for a while

[Penton-Man]

Originally Posted by L'armée des ombres

Thanks for your thoughts...already asked for a sticky
On making this a full on 4K thread we will see....i'm open to expand this.
Let's wait on it for a while

I can see you’re a charmer …..like Casanova (35mm Kodak Vision2 -> 4K).

P.S.
Hey, you forgot to add Angelina in this…http://www.traileraddict.com/trailer...st/dvd-trailer

[Dubstar]

Originally Posted by HeavyHitter

And they might be. I just checked the Home Theater mag website and their review makes no mention of 4K for the others.

But, Raiders does look more natural and organic.

I agree the second and third look very good, but there is some very slight EE going on at times making the images look a wee bit digital compared to definitive 4K transfers I have seen.

Raiders looks like pure film.

see my post #39:

"Last year, when I interviewed Ron Smith, Vice President of Preservation and Restoration at the time, he revealed that they had:

“…done some preservation/restoration work on Raiders just ’cause…we actually wanted to make a print. You know, we wanted to be able to make a print of the film and we wanted to also be able to have a digital cinema version. We basically had the desire to show that in a movie theater.”


In the intervening months, the work on cleaning up Raiders was complete and a print created for re-release in theaters (and on IMAX screens) to the delight of fans everywhere.


Each of the first three films enjoyed a 4k scanning of the original negative though Raiders of the Lost Ark was given far more attention, carefully color corrected and examined frame by frame to clean up and repair any damage. The faithful attention paid to Raiders results in a beautiful image retentive of native film look and a mouthwatering clarity – all the while preserving the original look of the film.


Spielberg and Lucas blessed the work and what we have is a sight to behold. I cannot claim to recall how Raiders appeared on the big screen back in 1981 (I would have been 6), but as presented here, in 1080p High Definition, the original Indiana Jones tale has never looked better. Some online commentary has made an issue of the color timing, with screen grabs comparing the DVD release – and its bluer hues – to grabs from the Blu-ray with hues that tend toward warmer tones. The actual movie as it appears on my HD display (73” display) doesn’t quite match any of the screen grabs. What I see is a superb image, lush colors, excellent detail and a color palette that appears wholly fitting of the tale being watched.


The Temple of Doom and The Last Crusade required less attention than the original film, but the scanning of the original negatives at 4k has benefited the first two sequels. Blacks are more precise, flesh tones natural, jungles healthily green, and the level of detail finer than it has ever appeared at home. Kingdom of the Crystal Skull uses the same master as the 2008 release which was superb at the time and remains so today. Some of the C.G.I in this film I find a little shaky, but that aside, the fourth adventure looks terrific still in HD."

[Penton-Man]

https://forum.blu-ray.com/showthread...ll#post7465167

^ That wasn’t difficult > https://www.google.com/search?q=Edit...hrome&ie=UTF-8

Ergo > http://www.editorsguild.com/v2/magaz...ive_090408.htm

As an aside, The Patriot is currently undergoing a 4K restoration. It will eventually come to Blu almost as certain as the sun rises and sets every day .

[PeterTHX]

Originally Posted by Penton-Man

As an aside, The Patriot is currently undergoing a 4K restoration. It will eventually come to Blu almost as certain as the sun rises and sets every day .

You sure it will be from Sony though? They've sold distribution rights to about everyone now.

I hope it's the theatrical cut. It's very annoying when they only offer an extended cut on Blu with no access to the way we saw it in theaters (eg: Stripes).

[Penton-Man]

Peter, I can tell you that at least the work (i.e. the 4K restoration) for sure is being done at Sony Pictures Studios, presently.

[Penton-Man]

Originally Posted by Penton-Man

...It will eventually come to Blu almost as certain as the sun rises and sets every day .

Though, can’t say the same for Mystic India (http://www.amazon.com/Mystic-India-I...stic+india+dvd )

because I simply just don’t know, it may or may not make it to Blu on Amazon. But I can inform you that Mystic India (shot in 8-perf 65mm) was scanned at 8K (producing a 4K DSM [Digital Source Master} and if some here are fans of this flick, or any large format films in general, then it’s something to at least keep an eye on for a future 4K Blu-ray edition news -

The Making of Mystic India - Trailer - YouTube

[Penton-Man]

L'armée, the ‘E’ category needs some TLC, so -

Eat Pray Love

[reanimator]

Originally Posted by Penton-Man

As an aside, The Patriot is currently undergoing a 4K restoration. It will eventually come to Blu almost as certain as the sun rises and sets every day .

Isn't it safe to assume that anything Sony is currently remastering in 4K will be available in actual 4k, not just 1080p? With their download server set to begin before the end of the year, perhaps sooner rather than later?

I think I'll be holding off on these "Mastered in 4K" titles until the true 4K version is available.