List of UHDs that utilize 4K or Higher Masters

[enzolt]

Originally Posted by NoFro

noticeably better than the Blu Ray without having to do any comparison

That doesn't make any sense. How can you say its "noticeably better" if you didnt even watch the blu-ray version?

[RaynMan2142]

To the OP. Thank you kindly for this thread.

[NoFro]

Originally Posted by enzolt

That doesn't make any sense. How can you say its "noticeably better" if you didnt even watch the blu-ray version?

Because I had bought the original Blu Ray release and had watched it several times. Hadn't watched the Blu Ray for over a year - put the 4K in the other day and instantly thought "wow, this looks a lot better".

With some discs, even native 4K, I've wondered if the UHD actually looks that much better than the Blu Ray and it's taken a side by side comparison for me to go "oh yeah the UHD looks better". With Kingsman I could see the leap instantly without having to do that comparison.

[Pieter V]

Since there is no US release, we can us the UK link.

[legends of beyond]

Guess I'm importing then.

[Geoff D]

Originally Posted by Pieter V

Since there is no US release, we can us the UK link.

Still not sure this actually got a 4K finish. Colourist Peter Doyle speaking to Post Magazine:

“We try to reproduce the theatrical experience so that what we see in the room would be a true and accurate representation of what is
out there in the commercial cinemas,” he explains. “We work at 2K, rather than 4K, because 2K still represents at least 80 percent of theatrical distribution chain that is out there.”

Darkest Hour would see a range of distribution mediums, so Doyle says he created “a classic Rec. 709 pass, an HDR 1000 Rec. 2020 pass, a Xenon 14-foot lambert 2D pass, and a Dolby Laser PQ pass.”

For monitoring, he drew upon a range of display devices, including a Sony BVM-X300 for the HDR grade, a Christie Xenon 2K DCI-compliant projector for the Xenon grade, and a Dolby laser projector for the Dolby Laser release.

Beyond the initial discussions and dailies, Doyle says he spent between three and four weeks on the final color grade and approximately two weeks making sure it worked across the different distribution formats.

http://www.postmagazine.com/Publicat...t-Hour-I-.aspx

I know that another article mentioned a "4K Dolby Vision" version but it'd be highly unusual to rebuild it in 4K just for the Dolby pass.

[Doctorossi]

Originally Posted by Peter Doyle

“We work at 2K, rather than 4K, because 2K still represents at least 80 percent of theatrical distribution chain that is out there.”

You know, I offered my wine shop $20 for a bottle of Dom Perignon the other day because 'at least 80 percent of bottled champagnes have a retail price under $20'. They didn't go for it, though.

[Geoff D]

^ DCP for Darkest Hour was 2K. Interesting that Black Panther's DCPs were 2K as well, you'd have thought that a 4K DCP would've been in the offing there given what the AC article suggests about the final grade? The cinema package even includes a 4K trailer for Solo (Lucasfilm keeping their 4K streak going it seems, after RO and TLJ) but why no 4K DCP for da Panther?

[Doctorossi]

Originally Posted by Geoff D

why no 4K DCP for da Panther?

The majority of shots being (2K) CGI renders and the 3D conversion probably have at least a lot to do with it.

[Geoff D]

Originally Posted by Doctorossi

You know, I offered my wine shop $20 for a bottle of Dom Perignon the other day because 'at least 80 percent of bottled champagnes have a retail price under $20'. They didn't go for it, though.

Take the michael all you like, but this explicitly ties in to something that I mentioned only a week or two back when people were doing their usual protesting as to why we don't have 4K everything on movies: the theatrical version is STILL the primary #1 focus for the filmmakers, usually the 2D SDR fixed-aspect (if going IMAX) version at that. And with 4K still being something of a rarity in terms of digital projection (heck, if you go to a "digital IMAX" venue then it's 2K) then that 2K SDR experience is what they aim for.

[Geoff D]

Originally Posted by Doctorossi

The majority of shots being (2K) CGI renders and the 3D conversion probably have at least a lot to do with it.

Well, yeah, you don't have to tell me! But the AC article states that

Dailies for Black Panther were handled by Élodie Ichter and Fergus Hally at Shed Atlanta using a custom ACES workflow LUT, and the final color grade was performed by Technicolor senior colorist Maxine Gervais working in 4K resolution on a FilmLight Baselight system in Los Angeles.

which got everyone a bit excited...and yet the DCP ends up as 2K. Hmmmmmmmm....

[Doctorossi]

Originally Posted by Geoff D

Take the michael all you like

I know he's just speaking factually, but his quote may as well have been, "We work at the 2K resolution because the studio is cheap."

Lowest common denominator standards just irritate me. If the problem is the predominance of 2K projectors out there, dropping everything you do down to that level is not going to help solve it.

[Pieter V]

Originally Posted by Geoff D

Still not sure this actually got a 4K finish. Colourist Peter Doyle speaking to Post Magazine:



http://www.postmagazine.com/Publicat...t-Hour-I-.aspx

I know that another article mentioned a "4K Dolby Vision" version but it'd be highly unusual to rebuild it in 4K just for the Dolby pass.

The fact the colorist prefers to work in 2K, doesn't mean it was 4K finished. Because of the majority it got regular 2K DCP, instead of 4K DCP. He sums it up pretty much for me.

Annabelle: Creation (2017) got the same treatment.

FYI, you're incorrect on Annabelle Creation though. It says:

Shot in 2.8K and 6K
VFX Rendered in 2K
Digital Intermediate at 2K
We shot it all in 3.4K and did an additional intermediate for 4K HDR. So a slight upscale for that one but at least not 2K to 4K. I believe the vfx was in native resolution, so 3.4K

https://www.instagram.com/p/BXB96I5gtld/

https://www.reddit.com/r/movies/comm...an_4k/dq0rc9c/

Originally Posted by Geoff D

Well, yeah, you don't have to tell me! But the AC article states that



which got everyone a bit excited...and yet the DCP ends up as 2K. Hmmmmmmmm....

Batman v Superman, Ex Machina & The Neon Demon both were 4K finished, but got a 2K DCP.

[Geoff D]

Eh, w/ref to Darkest Hour it's the sort of statement that can you read into it what you want to read into it. Still not convinced meself.

[Doctorossi]

For that matter, I don't think Mr. Doyle's quote even necessarily speaks to finishing resolution (DCP or otherwise). When he says "We work at 2K", I think he means just that. They're monitoring at 2K because they want to ensure they're producing a result that will look good in the way the majority of the audience will see the movie- not unlike monitoring the safe area on an overscanning monitor when finishing for broadcast television. However, they may very well be monitoring at 2K to make decisions to be applied to 4K files for a 4K final render.

[Geoff D]

I had to laugh at this line in that reddit from matey who runs that blasted 'real or fake' website:

Also, to those wondering... 'Fake 4K' titles shouldn't scare you off. The added benefit of advanced codecs and HDR really make an improvement over the standard Blu-rays. About half of the best demo discs are 'Fake 4K'.

So why doen't he put that right there on the front page intead of peddling the 'fake 4K' nonsense? Even that Annabelle would go under "nearly 4K" because it was finished at 3.4K.

[Geoff D]

Originally Posted by Doctorossi

For that matter, I don't think Mr. Doyle's quote even necessarily speaks to finishing resolution (DCP or otherwise). When he says "We work at 2K", I think he means just that. They're monitoring at 2K because they want to ensure they're producing a result that will look good in the way the majority of the audience will see the movie. However, they may very well be monitoring at 2K to make decisions to be applied to 4K files for a 4K final render.

But no mention is made of grading with proxies. Again: there's a lot of wiggle room there for each of us to believe what we want to believe.

[Pieter V]

From Roger Deakins on Blade Runner 2049.

For the first time, in my experience, we could do the DI color timing at 4K. Previously to this I had always done my timing at 2K and then made an output DCP at 4K

https://www.rogerdeakins.com/post-th...-4k-vfx-usage/

2K gonna 2K.

[Geoff D]

Yes, but Deakins has been an advocate of 4K finishing for years, well before the speed and storage of current grading systems allowed him to do all of this in real-time in 4K. Grading/editing by using lower resolution proxies is nothing new - on Gone Girl's 6K DI they used downscaled proxies because they simply couldn't work at native res all the time - but Doyle doesn't mention grading in 2K by proxy for a 4K output due to issues with bandwidth, he specifically mentions working in 2K rather than 4K because the former is what the ultimate cinematic expression of that movie will be.

[Doctorossi]

Originally Posted by Geoff D

So why doen't he put that right there on the front page intead of peddling the 'fake 4K' nonsense?

"Real 4K Or Buy-It-Anyway 4K" just don't generate dem clicks, hombre.