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

[Canada]

"Keep in mind, these are NOT actual 4K Blu-rays. They’re essentially the BD equivalent of Sony’s Superbit DVDs from a few years back – simply mastered from 4K source material with high video data rates, but still just 1080p. My personal response to these is similar to my reaction to the Superbit DVDs back in the day: If you can master Blu-rays in better quality, why haven’t you been doing it all along?"

by Bill Hunt

[42041]

Originally Posted by RomanBlade86

So I suppose it's a good idea to sell my current copies of Apocalypse Now, Alien, Aliens and just wait to get the superior 4K transfers?

What? All of those are already from 4K transfers.

[RomanBlade86]

Originally Posted by 42041

What? All of those are already from 4K transfers.

My mistake. For some reason I thought these would be released and realize the ones I own are already in 4K. Ok, my copies are safe.

[Scholer]

Originally Posted by RomanBlade86

So I suppose it's a good idea to sell my current copies of Apocalypse Now, Alien, Aliens and just wait to get the superior 4K transfers?

3 of the titles you mentioned were already done in 4k for the BD Release.

[RomanBlade86]

Originally Posted by Scholer

3 of the titles you mentioned were already done in 4k for the BD Release.

Ok, they are safe then.

[Scholer]

Originally Posted by 42041

Not true... both used (4K) digital intermediates. Apparently Tarantino wanted a photochemical release but his DP talked him out of it. It's just pointless at this point, barely any first-run theaters run 35mm these days.

Well I don't know what your source is but The American Cinematographers Articles in the magazines explicitly state that both had photochemical Color Timings. Django did have an additional DI and Robert did convince Tarantino that the color timed print would reach very less cinemas so a 4k DI with the color matched to the timed print was done. And Robert also mentioned in the article that the color timed print looked more beautiful than the DI.

And Janusz stopped using the DI after Indiana Jones KOTC, the 4k DI of War Horse and Lincoln were just scans of the color timed prints.

[Scholer]

The Music Room was done in 4k

https://www.blu-ray.com/movies/The-M.../23143/#Review

It's mentioned in the review and the Criterion Booklet.

[42041]

Originally Posted by Scholer

Well I don't know what your source is but The American Cinematographers Articles in the magazines explicitly state that both had photochemical Color Timings.

They state no such thing, and I would know since that's where I'm getting my info

[Scholer]

Originally Posted by 42041

They state no such thing, and I would know since that's where I'm getting my info

Read the last few paras

http://www.theasc.com/ac_magazine/Ja...ined/page3.php
It states about the silver retention applied and about photochemically reducing the contrast on the third portion. And digitally trying to replicate that on the DI. In the end he states that the ''film was much more beautiful''.

[42041]

Originally Posted by Scholer

Read the last few paras

http://www.theasc.com/ac_magazine/Ja...ined/page3.php
It states about the silver retention applied and about photochemically reducing the contrast on the third portion.

...to the dailies.
It's a digital show. So is Lincoln. The last film to have an actual photochemical finish was The Master.

[Scholer]

Originally Posted by 42041

...to the dailies.
It's a digital show. So is Lincoln. The last film to have an actual photochemical finish was The Master.

Everything photochemically added on the dailies are always later replicated on the final neg. So yes, a color timed print was made anyway, its' customary. The DI was made for wide distribution. Robert stated that fact

[Onlysleeping23]

Full quote:

Deluxe’s proprietary Adjustable Contrast Enhancement silver-retention process was applied to the Western portion of the story in the print dailies, and the team applied a digital approximation of that look to the CinemaScan dailies and to the final grade. “Through testing, we ended up at a near 50-percent application of ACE, which Deluxe numbered 152,” says Richardson. “The creative intention was to create a desaturated look with deeper blacks. When Django and Shultz travel to the South, ACE was dropped, and the result was an apparent increase in chroma. In the digital realm, Yvan added 15-percent desaturation and an increase in contrast to mimic the look of ACE, but there is no way to fully replicate the chemical properties of the process digitally.
“The film was vastly more beautiful, in my opinion,” adds Richardson. “Soon, unfortunately, this process will be more and more difficult to see due to the rise of digital cinema and the slow burnout of the companies that produce film stock.”
END QUOTE

The sliver retention process was in fact only used in the dailies, and they attempted to re-create the photo-chemical look of them in the DI suite.

[Scholer]

Originally Posted by 42041

...to the dailies.
It's a digital show. So is Lincoln. The last film to have an actual photochemical finish was The Master.

And Janusz hates the DI. The digital version of the article is not online but my e copy has no mention of DI except for wide release either.

[Scholer]

Originally Posted by Onlysleeping23

Full quote:

Deluxe’s proprietary Adjustable Contrast Enhancement silver-retention process was applied to the Western portion of the story in the print dailies, and the team applied a digital approximation of that look to the CinemaScan dailies and to the final grade. “Through testing, we ended up at a near 50-percent application of ACE, which Deluxe numbered 152,” says Richardson. “The creative intention was to create a desaturated look with deeper blacks. When Django and Shultz travel to the South, ACE was dropped, and the result was an apparent increase in chroma. In the digital realm, Yvan added 15-percent desaturation and an increase in contrast to mimic the look of ACE, but there is no way to fully replicate the chemical properties of the process digitally.
“The film was vastly more beautiful, in my opinion,” adds Richardson. “Soon, unfortunately, this process will be more and more difficult to see due to the rise of digital cinema and the slow burnout of the companies that produce film stock.”
END QUOTE

The sliver retention process was in fact only used in the dailies, and they attempted to re-create the photo-chemical look of them in the DI suite.

Man the last par states that ''the film'' was far more beautiful and that it would become more difficult to continue ''the process''. Even an idiot can understand that he was talking about a print. And Tarantino will undoubtedly make some photochemical prints himself.

[42041]

Originally Posted by Scholer

And Janusz hates the DI. The digital version of the article is not online but my e copy has no mention of DI except for wide release either.

It's in, like, the 2nd paragraph of the article...
"The cinematographer recalls that in prep, he and Spielberg considered creating a period look in a variety of ways, including doing various levels of desaturation in the DI suite."
Creating an analog print of a film intended for DI is not entirely trivial BTW, as there's usually no cut negative.
Anyway, I'm sure this is all terribly riveting for the people reading the thread to find out about 4K transfers, but I think this has gone quite off topic.

[pagemaster]

007 movies should be scanned from 4k. Skyfall was a 4k movie.

[DarknessBDJM]

Wizard of Oz is an 8K transfer. Ben-Hur was scanned in 8K and mastered in 6K. Lawrence of Arabia was scanned in 8K and mastered in 4K. It's a Mad Mad Mad Mad World was also scanned in 8K.

[Pieter V]

If Angels and Demons is already done in 4K, why the hell another re-release?

[MisterXDTV]

The Dark Knight Rises: 8K negative scan for IMAX Scenes, 6K IP Scan for 35mm...
https://hopa.memberclicks.net/assets...R_Workflow.pdf

[L'armée des ombres]

Originally Posted by MisterXDTV

The Dark Knight Rises: 8K negative scan for IMAX Scenes, 6K IP Scan for 35mm...

Link please