2001: A Space Odyssey 4K UHD (1968)

[bga84]

As long as we get a Dunkirk transfer we'll be fine. I'm hoping he won't want to "mess" with something that isn't his, anyway.

[Vangeli]

So it won't have Atmos... I wonder what 5.1 track will be chosen. Hopefully the better one.

[bga84]

Last time I mooched around this thread there was talk of Dolby Vision and Atmos. Were they just early rumours/fake covers?

[Vangeli]

Originally Posted by bga84

Last time I mooched around this thread there was talk of Dolby Vision and Atmos. Were they just early rumours/fake covers?

I'm just assuming because Nolan had a hand in the restoration that it won't receive an object based audio remix, nothing has been announced yet.

[Geoff D]

Originally Posted by bga84

As long as we get a Dunkirk transfer we'll be fine. I'm hoping he won't want to "mess" with something that isn't his, anyway.

I suppose. Large format 5/65 is robust enough in terms of resolution to not suffer badly from using an IP, should they have gone that route - bearing in mind the "true photochemical restoration" that Nolan's touting for this, not the negative itself but the "new printing elements" that have been created e.g. IP then IN to strike the prints from - but I just hope he doesn't go mad with any degraining when it comes to the HDR version.

[benhoppel]

Sounds like bad news. How can they restore 2001 photochemically only? It's not possible to the degree that could be done with digital technologies. No scratch removal etc.? No negative detail on any released version, home or cinema?

[Geoff D]

Originally Posted by benhoppel

Sounds like bad news. How can they restore 2001 photochemically only? It's not possible to the degree that could be done with digital technologies. No scratch removal etc.? No negative detail on any released version, home or cinema?

Yeah, the point here is that new duping elements have been created which is about as far as any "true photochemical restoration" can get. Scratches can be filled in to a degree with a wetgate transfer from the neg to an IP, dirt can be cleaned off in a chemical bath prior to printing, damaged oneg can be replaced with dupe neg derived from seps, there are lots of little things they could've done to create these new printing elements....but it still wouldn't be as tasty as digitally restoring it from the ground up using the oneg.

[Vangeli]

Maybe they let Nolan do his thing (or he paid to, seeing as how important the movie is to him) and the studio did a 4K restoration on their own because this Nolan business so far reads like he made a new film print for showcase in theaters, not a 4K scan to be used for home video.

[Poya]

Look, this was a 65mm-shot film and the best parts of Nolan’s UHDs were the 65mm scenes, but even those would’ve looked even better had there been digital remastering (yes I know some scenes were scanned for certain films for VFX shots). I just don’t get this reluctance. Even Paul Thomas Anderson, who also uses photochemicals to time his work, scanned his negatives for a proper home media release, judging from what I’m reading about how Phantom Thread on BD looks. Ironically, doing this makes them look more filmic on BD. The Sony releases should be more than enough evidence.

[singhcr]

Originally Posted by Geoff D

Christ, I hope he hasn't gone Full Nolan on it. No transfers from IP, no select usage of noise reduction, let's have this done right please.

I simply do not understand how such an ardent film lover allows such heavy handed DNR. I don't like the use of IPs instead of negs, but there's at least some logic to it. But for crying out loud, why not at least present the IP scan with the grain intact?

I have a lot of respect for the man especially for his use of large format film, but his home video releases of 35mm content have left a lot to be desired on UHD.

[Doctorossi]

Well, preferred processes aside, this news makes me suspect that Nolan’s interest was in part impetus for the timing of this release and for that, at least, I thank him.

[Doctorossi]

Originally Posted by singhcr

I simply do not understand how such an ardent film lover allows such heavy handed DNR. I don't like the use of IPs instead of negs, but there's at least some logic to it. But for crying out loud, why not at least present the IP scan with the grain intact?

Yeah, it kind of feels like he abhors all aspects of digital technology, except for the most easily misused ones.

[Fendergopher]

Originally Posted by Vangeli

Maybe they let Nolan do his thing (or he paid to, seeing as how important the movie is to him) and the studio did a 4K restoration on their own because this Nolan business so far reads like he made a new film print for showcase in theaters, not a 4K scan to be used for home video.

Yeah, by the sounds of things it sounds more like the process to get a bunch of nice looking prints made for some special screenings. Unless the OCN is so worn it's useless, I don't see any real reason to mess about and making new prints to use as basis for a new 4K scan, sounds like a lot of work for little payoff. I would hope that the studio realizes the magnitude of importance 2001 holds for cinematic history to not do a bad job.

[singhcr]

Originally Posted by Geoff D

Yeah, the point here is that new duping elements have been created which is about as far as any "true photochemical restoration" can get. Scratches can be filled in to a degree with a wetgate transfer from the neg to an IP, dirt can be cleaned off in a chemical bath prior to printing, damaged oneg can be replaced with dupe neg derived from seps, there are lots of little things they could've done to create these new printing elements....but it still wouldn't be as tasty as digitally restoring it from the ground up using the oneg.

I am a proponent of photochemical color timing from what I've seen from movies that used it versus DIs. I generally prefer to avoid digitizing the image as much as I can.

But when it comes to restoration, digital tools have really come around. Geoff's points are quite valid as one can't really fix emulsion scratches with wetgate printing, for example, and any damaged footage would have to be replaced with a dupe of some sort.

For example, PlayTime was restored just a few years ago. It's a 70mm production and I got to see a 35mm reduction print that was from the 4K restoration earlier this year.

My goodness, did that look good. Rock solid registration and absolutely gorgeous color and detail. There wasn't much in the way of film grain as this was from large format, so that wasn't a concern for me. After seeing that I was sold. I think 8K pipelines will be needed to truly preserve 70mm content, but as far as 35mm is concerned save for IB Technicolor materials, digital is truly the better way to go restoration wise.

[Vangeli]

*waiting to post the "looks like Atmos is back on the menu boys!" GIF*

[Fat Phil]

So señor Nolan is involved eh? In space, no one can hear you scream......at those raised black levels.

[OutOfBoose]

Wow, Nolan is here too. It's getting interesting. Infinite possibilities. I hope he didn't help Pope with The Matrix, though.

[xbs2034]

Originally Posted by Vangeli

Warner sometimes waits a month before release date to put out the press release in the US, and I don't believe they've never cut it closer than that. At this point it's probably not coming in April.

There is going to be a theatrical re-release of the new 70mm prints on May 18th, so that probably comes before the UHD (could be very close together or months apart)

[alexroubaix]

Super excited for the 70mm unrestored re-release, but would be more excited see the full 4K restoration in a Dolby Cinema.

[xbs2034]

Originally Posted by alexroubaix

Super excited for the 70mm unrestored re-release, but would be more excited see the full 4K restoration in a Dolby Cinema.

Though with Nolan I doubt that would be the focus, plus Deadpool 2 comes out the same day and I'm sure Dolby would rather play that than a 50th anniversary re-release/UHD tie-in.

Though the new 70mm release will probably be very limited (just says select theaters right now but Wonder Woman, Justice League, and Ready Player One were all in the 15 theater or less range, so I'm assuming this will be similar), so would've been nice if they also did a 4K DCP release to go along with the major markets which don't have a 70mm option.