Star Trek The Motion Picture Director's Edition 4K UHD/DLX (1979)

[KC-Technerd]

Originally Posted by PeterTHX

Well the source is a lot more "aggressive" than those old optical soundtracks which topped out at something like 14kHz (16kHz for SR). Even lossy Dolby Digital goes to 20khz. Just like 4K disc beats out the quality of many of those theatrical prints, you're getting better quality at home.

To me, you're comparing apples and oranges. Aggressive steering is much different than extended frequency response (which I wouldn't refer to as aggressive anyway). When I'm referring to slow steering response with Pro-Logic, I mean that sometimes a sound will be coming almost equally from 3 speakers for a half-second or so before the steering logic identifies it, kicks in, and steers it rather aggressively to one. I don't remember ever experiencing that in a theater, most likely because of the lower channel separation (less aggressive steering logic).

As far as frequency range, unfortunately my hearing tops out around 14-15kHz now, and there's usually not much above that anyway, so I doubt I'd notice any difference. Anyway, it is a somewhat difficult line to draw. Where does removing the limitations of the period end and alteration of original intent begin? Were the Dolby Stereo soundtracks of that period mixed and matrixed with the intent of them being reproduced as high separation 4.0 or 5.1, but equipment of the time didn't allow that; or were they mixed and matrixed with the intent of being reproduced by the Dolby cinema processors of the time with the steering logic they used?

[Geoff D]

Originally Posted by KC-Technerd

No, not at all. Of the all the options I have at home for 2.0 matrixed tracks, DPLII Movie is my first choice, and I use it almost exclusively. It's just my desire to additionally have at least the capability of recreating at home, as closely as possible, what the optimum theatrical experience would have been when the movie was originally released. What was it like to have been there in Washington DC's MacArthur Theater on Dec 6, 1979 when Wise's hand carried print was first shown? When trying to recreate that ultimate movie premiere experience of the period, I actually appreciate the removal of limitations, such as low audio fidelity and image degradation and dirt due to film print duplication. Although it may be a difficult line to define, having that extended into alteration is less appealing for me. As an example, for a movie with a Perspecta soundtrack, I'd love to have the best possible 3.0 decoding of it included with a monaural option. Only secondary to that would I appreciate a newly created 7.1 mix.

Now in the case of something like the DE for ST:TMP, I really do like the new Atmos mix for the most part, but in addition I still want the optimum reproduction of the theatrical cut including the capability of optimally reproducing the original 1979 theatrical sound (Dolby Six-Track and Dolby Stereo).

TBH I'd say that unless you were there you're never going to have that "ultimate movie premiere experience". That's not a license to go hog wild with changing a sound mix decades after the fact either (hi Peter!) but unless you can physically procure a cinema DSP that decodes Dolby Stereo then the modern consumer equivalents with all the sweetening will have to do.

[starmike]

Originally Posted by Geoff D

TBH I'd say that unless you were there you're never going to have that "ultimate movie premiere experience". That's not a license to go hog wild with changing a sound mix decades after the fact either (hi Peter!) but unless you can physically procure a cinema DSP that decodes Dolby Stereo then the modern consumer equivalents with all the sweetening will have to do.

Not only that, but there were so many factors that came with each theater. The gear is one thing, but acoustics is another. My theater is LONG gone (70mm house), and there's no way I'll get that back no matter what I do. It's like lim->1, you'll just never reach it.

[PeterTHX]

Originally Posted by KC-Technerd

To me, you're comparing apples and oranges. Aggressive steering is much different than extended frequency response (which I wouldn't refer to as aggressive anyway). When I'm referring to slow steering response with Pro-Logic, I mean that sometimes a sound will be coming almost equally from 3 speakers for a half-second or so before the steering logic identifies it, kicks in, and steers it rather aggressively to one. I don't remember ever experiencing that in a theater, most likely because of the lower channel separation (less aggressive steering logic).

As far as frequency range, unfortunately my hearing tops out around 14-15kHz now, and there's usually not much above that anyway, so I doubt I'd notice any difference. Anyway, it is a somewhat difficult line to draw. Where does removing the limitations of the period end and alteration of original intent begin? Were the Dolby Stereo soundtracks of that period mixed and matrixed with the intent of them being reproduced as high separation 4.0 or 5.1, but equipment of the time didn't allow that; or were they mixed and matrixed with the intent of being reproduced by the Dolby cinema processors of the time with the steering logic they used?

Remember part of that steering depended on certain frequencies, center channels were mostly midrange and surrounds lopped the frequencies off something like 7kHz. Then you had the X-curve which had the effect of boosted high frequencies to compensate for the lower response of optical tracks. This was a major problem with the first couple years of digital soundtracks which sounded unnaturally harsh due to sound mixers not used to having the full response. Not to mention decisions made on a filtered LFE vs. discrete.

In any case, it's all a compromise watching on home video.

[KC-Technerd]

Originally Posted by Geoff D

TBH I'd say that unless you were there you're never going to have that "ultimate movie premiere experience". That's not a license to go hog wild with changing a sound mix decades after the fact either (hi Peter!) but unless you can physically procure a cinema DSP that decodes Dolby Stereo then the modern consumer equivalents with all the sweetening will have to do.

Originally Posted by PeterTHX

In any case, it's all a compromise watching on home video.

Sure, it's a compromise. I'm not saying that I expect to get 100% of the "ultimate movie premiere experience" at home. However I will desire, advocate and support anything that is a move closer to that. If someone offered a home theater audio system that replicated Dolby Cinema Processing of the period (which I don't think would be that difficult to achieve), then I'd certainly be interested in it. If I just say it doesn't matter because I'm never going to have that "ultimate movie premiere experience" at home, then I might as well just be experiencing the movie from a VHS video tape on a 12" 4x3 black & white TV with a single 2-inch "full range" speaker.

[eastx]

It's always a good idea to get some sun every day and socialize in person with other people as often as possible. I mention this for no particular reason.

[Bond84]

[Show spoiler]

Originally Posted by Geoff D

Star Trek: The Motion Picture The Director's Edition (2022) 4K Dolby Vision review, UK Paramount UHD disc. HDR metadata: Mastering display colour primaries: DCI-P3. Mastering display luminance levels: 4000/0.005 max/min nits. Maximum Content Light Level: 1000 nits. Maximum Frame Average Light Level: 926 nits. Disc type: UHD100.

As my review of the 2022 theatrical/SLV UHD disc also links to my review of the 2021 theatrical disc then I might as well quote the former: https://forum.blu-ray.com/showthread...2#post20449232 (it's now a review within a review within a review, we have to go deeper!). This is just for orientation as to what/how the movie was shot and how those processes affect the movie that we see. Or rather how some of those processes previously affected the movie as it was rebuilt with updated digital VFX and fresh scans of existing VFX to form 'The Director's Edition' (TDE). First attempted in 2001 but completed at mere SD resolution, the idea was to finish what has long been regarded as an unfinished film, bringing in director Robert Wise to oversee the efforts and ultimately approve a 'final cut' of his film. It was a decent attempt for the time but with no recourse to an HD (or higher) version then TDE got creakier and creakier as the years progressed and it seemed destined to languish in SD hell. Another 20 years later and someone somewhere decided that the time was right to have another go at TDE, utilising modern tools like 4K, HDR and Atmos to bring the movie up to a standard that would theoretically exceed all that went before it. Wise passed away in 2005 so overall stewardship of the 4K TDE project passed to David C. Fein who also helped produce the 2001 version, bringing back a number of people who worked with him on the 2001 edition to help fulfil Wise's dream.

So far, so idealistic, but the end result is even more problematic than I'd feared. I'd seen all the forums hysteria about the poor quality of some of the redone VFX - some of which is hamstrung by the remaining film elements available, some of which is just plain sloppy as hell - when it debuted on Paramount+ but still hadn't seen the 4K TDE for myself until I sat down to watch this 4K UHD disc. If anything, those dodgy moments like the terrible roto in the captain's lounge and the shuttle stopping in mid-air in the starfleet transport hub scene weren't so bad because I knew what to expect (and no, they have not been fixed or sweetened for this disc-based version), though I'll grumble about them anyway later on. What I didn't expect was the amount of DNR that's been used on this 4K transfer, I mean Fein had literally said in interviews months ago that they went in and tweaked the grain shot by shot but it still didn't prepare me for this.

I do want to make it clear that this is not some pasty-faced abomination from start to finish, that is simply not the case, but what it is is infuriatingly inconsistent. Some shots may have only a mild tickle of grain management, some more severe, and some seemingly left alone, but there never seems to be any rhyme or reason for it in the live action footage. Fein wanted to knock out the blotchy dupey grain in the old composites of the V'ger cloud and that's fine (albeit at the expense of moving 'force fields' of grain around the Klingon ships when they approach/flee V'ger at the beginning) but the live action stuff comes off worse. The opening shot of the interior of the Klingon ship is smoothed over, though the rest of the sequence looks betterer, and the interiors of the Epsilon 9 station intercepting the Klingon distress call are badly smoothed over in some shots. There's even an instance where a two-shot of the guy who would be Xon and the communications officer is noticeably softer than a shot which follows it, it's literally the same shot just intercut with the distress call yet one is smoothed and the other is not. It's bizarre and has nothing to do with opticals or anything like that.

This routine follows with the rest of the film. You'll get a shot or a sequence that looks nice and crisp while others are blankly smooth, and some sit in the middle with some grain shaved off but some form of middling texture remaining. Much of the scene with the crew assembled on the rec deck looks great, very finely grained, while Ilia's arrival on the ship is consistently 'grain managed'. Kirk getting off the shuttle at Starfleet HQ is badly smushy. And so on. It seems to get less pervasive the more the film progresses or maybe I just got used to it, I dunno, but it's still a gut punch that I wasn't expecting for a film remastered in 2022. Then again, that's the point: Fein has said that this is not about making it look like a 1979 film, it's about revitalising it for modern audiences and, well, modern audiences sure don't like that nasty grain stuff (including Fein himself it would seem). When it gets to Ilia-bot and Decker unit merging in the beam of light at the end then the grain warps and gloops, those multiple points of light seem to trick out the DNR algorithm, verr similar to how looked in the massively DNR'ed 2009 transfer! If I pop in the theatrical UHD (either the 2021 or 2022, they're the same transfer at source) then the grain is back, baby! The kicker is that it's never some ugly snowstorm of the stuff, 5247 being nicely fine-grained for a stock of that period, it just looks like film on the theatrical UHD. There's a very slight amount of sharpening on TDE though, so when you get a shot that's untouched it actually looks grainier than its counterpart on the theatrical UHD! Maybe if they hadn't cooked the sharpness they wouldn't have had to selectively degrain the movie? Just a thought.

What about all that lovely redone VFX though? Surely that got my juices flowing? Ehhhhh. The clarity and quality of the newly composited VFX (finding all the original layers of the shot and recompiling them digitally) is undeniable but again, there's a lot less grain here. Not simply losing all that dupey optical build-up but further 'management' of whatever was on the OG elements, and without that texture it makes the redone miniature shots look more like, well, miniatures. The grain helps to dither the surfaces of the models, to scatter their detail and alter the depth perception of the image, but when you're able to see right into it it loses something of its sense of scale. Not that I'd prefer to have the DigiSmear™ approach of the theatrical 4K where a lot of the opticals are badly grain reduced...and yet even there there are a lot of shots that aren't too bad either, there's something about those OG effects in the theatrical 4K that simply have more filmic charm, even with all their faults, old and new. The 4K recomps are just too slick for my taste. And the new all-CG shots like the establishing shots of Starfleet HQ and some of the V'ger ship continue to stand out like a sore thumb, looking far too anachronistically modern and sharp next to all this old 1979 footage.

The weird thing is that some OG VFX shots (not all were recomped as they couldn't find all the elements) which look okay in the theatrical 4K actually look worse in TDE, there's a front-on angle of the Enterprise in spacedock at approx 32m16s in TDE where the dock and the black matte outline around the secondary hull shimmer and dance, yet in the theatrical 4K it's far more stable. Dupier, but more stable. And other older shots have had their grain removed while some have a layer of frozen stuff sitting there. And that redone wide shot of Kirk with Sonak in the Starfleet shuttle hub is just so odd. Yes, the elements of Kirk and the bystanders in the centre of the shot look great, really sharp, but the elements over to the left still look super soft and the newly pasted-in shuttles look terrible. I don't mean the mid-air stopping special, I mean the one that Kirk arrives in. Pull up the 1979 shot and you'll see that they originally had shadows for the shuttle on the wall and when it passes those two columns, it really sells the effect, but there's no such interactive lighting at all on the 2022 shuttle and it looks incredibly amateurish. Christ, even on the 2001 edition they remembered to include the shadows when they redid it. And on the redone matte painting behind Kirk and Sonak in the closer shot the shuttles are so bad on the 2022, like someone's clipped out an image and just stuck it on. It's simply not good enough.

The much-vaunted regrading of the film (they had only four days to time it back in 1979 etc etc) doesn't seek to turn it into something else. It's still The Beige Adventure but there's a more neutral hue to the white balance vs the warmer theatrical 4K, and the skin tones are slightly pinkier and have less of that classic slightly orangey sheen seen in the theatrical 4K. Even the Klingon ship has this deep red drench on the theatrical 4K while it's been toned down on TDE. Vulcan does not have the stronger red tint that the theatrical 4K has, still warm but not red, and while I know that that change didn't have its fans I love it, it really fits the red volcanic surface as depicted in the old VFX shot while the less intense colour suits the less dramatic skyscape of TDE. I could live with either colour scheme, don't get me wrongo, but making the colour more neutral in TDE is another aspect that makes this version of the movie look and feel more antiseptic and sterile to me.

HDR usage is more lively than the theatrical 4K too. The metadata may show similar figures between this and the theatrical/SLV disc (with the 2021 disc carrying no MaxCLL/MaxFALL at all) but TDE generally has a higher brightness level from scene to scene and the peaks in the smaller highlights seem a lot brighter than the theatrical 4K as well. It's still not overly aggressive with it but there's a definite intent to take more advantage of the HDR than with the theatrical 4K transfer. You don't get more visible range in whatever highlights, just more brightness. The blacks generally have quite a crushy look at times on the theatrical 4K, especially on interiors, but they're crushed down by another point or two on TDE. When Spock is shielding his eyes from the sun on Vulcan his hair is just a blank mass in TDE but there's a touch more shadow detail there on the theatrical 4K. It's all adding to the enhanced sense of contrast on TDE but without the grain to dither those darker areas they look a little more posterised than they do on the theatrical, particularly on hair where there are brighter highlights that meet the dark.

What really bugs me though re: the blacks is that space exteriors are much more variable in TDE. I made a post about how the opening shot of the camera swooping over the Klingon ships looked "grey AF" in TDE and I was mistaken, it's still decently dense but is nonetheless a shade brighter than the theatrical 4K shot which means that the matte lines around the ships aren't quite invisible any more. The thing that annoys me is the lack of consistency, there's a sequence when the Enterprise is preparing to leave spacedock and all the lights start to turn off, it's about 34m34s into the theatrical 4K and roughly 35m35s in TDE 4K. The shot of the light on stalks turning off and away is crushed so badly on TDE, it loses most of the spacedock with it yet the dock is perfickly visible on the theatrical 4K (and even on a 'raw dailies' version of the shot that's included in the new documentary on the bonus disc). The next shot with the lights turning off is much betterer, but the third shot looking out over the saucer of the Enterprise as a cargo transport flies overhead now looks really grey and thin in TDE, nothing like the black level of the two shots that preceded it. There are several other shots where the blacks are just too light, that one I mentioned a few paragraphs up of the flickering front-on spacedock shot also has space looking grey and there's some posterisation on the right hand edge of the image too. They're not all like this, many more have a deep 'letterbox' level of black but it's so uneven, this is while the theatrical 4K manages a far more consistent level of rich, dark black in space exteriors.

Indeed, that's the word I think sums up this 2022 restoration of the film: uneven. It's got grain, but it's all over the place from shot to shot. It's got some nice blacks in space but also some very grey moments. It's got shiny new digital VFX as well as pristine recomps of existing shots sitting next to 40+ year old optical VFX and they don't quite gel, as well as having redone shots that are badly flawed. Me, I'm a half-glass empty kinda guy (No, really? Ed.) and when I see something as inconsistent as this I start thinking that they shouldn't have bothered, while other people will rightfully be overjoyed that some of this iconic VFX can now be seen in such sharp modern quality. But again, that's the crux of the matter: the intent was to shine up the movie as if it'd been made yesterday but there's no doing that with 40+ year old material, not all of it anyway, and the incongruity just didn't let me settle into the movie. I became restless, bored even, but maybe I'm just TMP'ed out after watching it several times and doing multiple comparisons over these last few days. And even if they'd managed to redo every single OG shot with a new digital composite it would still be jutting up against live action scenes that cannot escape looking like a product of their time, even with Fein "managing" their grain shot to shot. That allied with the more neutral colour scheme also made the whole thing feel more anodyne to me, more middle of the road and less likely to offend modern visual sensibilities.

That's fine but it takes away from the character of the visuals for me, makes them seem more detached somehow, like a version of the film that V'ger itself would be proud of: technically pristine but emotionally inert. That's the irony I took away from Fein himself getting so emotional about this project in the new documentary, he sees himself as the keeper of Wise's flame and yet I can't help but wonder if he was too close to this project, that he just couldn't see the flaws for looking, for being so excited that they were getting to do this at all. Still, some of this is by his own hand e.g. the DNR edict which is purely a matter of taste, and for the rest of it I could be charitable and say that they were still working to such a tight budget and timescale (some things never change) that the unevenness of some of the grading and new VFX work just couldn't be helped. There's even a tacit admission to this in the new documentary, they say that the film got abandoned in 1979, got abandoned again in 2001 and also had to be left alone once more in 2022, that who knows what else could be discovered in the Paramount vaults in the future? For all the talk about how this was some legendary unfinished epic it honestly feels more unfinished to me now because of that ingrained inconsistency in the 4K remaster/rebuild. Therefore I can't wait for the 16K Director's Edition in 2042!

The compression is fine, not solely because they've lavished a UHD100 on it but also because of the 'managed' grain, there's less random stuff blobbing about for the encoder to deal with. It's got player generated subtitles for alien dialogue in the newer font that Wise chose for the 2001 version, albeit at a much smaller size than that seen on the DVD. (I've cropped these because the blooming on the black bars is just too distracting.)

2001 TDE DVD

[Show spoiler]

2022 TDE UHD

[Show spoiler]

THESE IMAGES ARE NOT INTENDED TO CONVEY THE ENTIRETY OF EITHER SDR OR HDR WITH 100% ACCURACY BUT ONLY SPECIFIC ASPECTS. THEY CAN ALSO BE MUCH DARKER THAN THE CONTENT ACTUALLY APPEARS OWING TO THE EXPOSURE NECESSARY TO CAPTURE THE DYNAMIC RANGE.

I'm gonna do a few photos to show the differences in the grain between one and the other, the colour and contrast IS NOT TO BE TAKEN AS SEEN because the exposure is set to capture the grain and not the bestest representation of the colour etc. There's a lot of blooming in these from the exposure and because that STUPID pause bar won't go away on Paramount discs (the camera uses that to set the exposure) so again, DO NOT TAKE THAT AS BEING INDICATIVE OF THE FINAL PRODUCT. Got that? Good. (I bet someone still comments on how much blooming there is. No, it doesn't look like that in actuality.) They're not always the same frame, it's not necessary.

From the scene aboard Epsilon 9. TDE is smoothed over dramatically, it looks worse in motion.

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

These are the shots I was mentioning that go from smoother to grainier between a cut yet there's no reason for that discrepancy at all, aside from someone not paying attention. Look at her face in particular.

First shot on TDE UHD:

[Show spoiler]

Second shot on TDE UHD:

[Show spoiler]

Compare that to the theatrical 4K rendition, there's no difference between the grain in the two shots. (Though if you compare the 2nd shot of each the grain looks much sharper in TDE, mainly thanks to the sharpening.)

First shot on theatrical UHD:

[Show spoiler]

Second shot on theatrical UHD:

[Show spoiler]

Kirk arriving at Starfleet, this whole bit with him getting out and meeting Sonak is smooth city.

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

Kirk on the bridge, most of this scene is similarly smoothed over.

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

Scotty lamenting the lack of grain, mayhap?

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

These are from where Ilia-bot arrives on Enterprise. Grain has not been eliminated but has clearly been toned down throughout this scene in TDE.

Kirk:

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

Ilia-bot:

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

Back to Kirk:

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

I wish I had read Geoff's (or anybody else's) PQ review before I sat down to watch this disc for the first time last night. I knew about some of the sloppy new VFX shots but I was not prepared for the amount of DNR they slathered onto this thing. What a shame, especially since the theatrical UHD looked so good to begin with. At least the Atmos mix was good and now I have a standalone case with a nice new slipcover to put the theatrical disc into.

[RegressiveScan]

Originally Posted by BerryTheMusicMan

Anyone made a cover to fit a proper case to include all 3 disc for the complete journey yet ?

Here's how I'm planning to store the discs from my deluxe box set (U.S. 3-disc release)...

I want to put the 'Director's Edition' 4K disc and the 2K bonus features disc in a 2-disc black 4K case, just like the standard release. And the combo Theatrical/SLV 4K disc in a separate single-disc black 4K case.

For the 2-disc case, I'd like to have a nice high-quality scan of the slip that came with the standard release of the 4K disc:



(I mean the paper slip with the cover/spine/back, not the cardboard slipcover.)

I've looked high and low online for a scan of this slip, but haven't yet found it. Just custom fan-made mockups. I assume it's not allowed on this forum to come out and request that someone share a scan...

(pregnant pause...)

Ahem. Anyway...

And for the Theatrical/SLV disc, I'd like to have a customized version of the very nice fan-made cover created by forum user @Nissen, as seen in this thread. Ideally I'd like the 'Special Features' listing on the back of the slip, and any other specs that may be listed anywhere on the slip, to be edited to reflect the actual cuts/features/specs that are included on the Theatrical/SLV branched 4K disc.

This way, the original 1979 poster art will be on the case with the Theatrical/SLV disc, as it should be.

Maybe I will ask nicely on the 'Custom Cover Art' thread if @Nissen would be so kind as to whip up a special variant of his very slick cover art, for this purpose. If I did so, would anyone chime in and support the effort??

[Paisano80]

Can someone confirm who bought the Spanish version of the Director's Edition whether the set contains the TV cut of the movie or not?

[Paisano80]

Originally Posted by Bolty

The package shown on this site clearly shows that the set is 5 discs and includes the TV version.

Yeah , but not in 4K right just only on Blu as special feature on the fifth disc ?

[Paisano80]

Originally Posted by Bolty

No. The TV version is only on 4K not on Blu-ray in any territory. If you go to this link and click on "back" you can read that "Disc 3" (a 4K disc) has the 144 minute TV cut known as the SLV or Special Longer version.

ok got it thanks for confirming

[Put_The_Candle_Back]

So, I got screwed by Amazon on this. I had pre-ordered early August and I got a shipping email from Amazon on September 20. On my Amazon tracking page, it states that the carrier had picked it up, however when I went to the carrier's website and used the tracking number, it stated 'Label Created'. They never picked it up. Kept checking both every day and no change. Last night, I got an email from Amazon that "I had returned the item back to them and I was getting a refund". Say What?????? I did not get the item, I did not return it back to them, and the item was never picked up by the carrier. I went into Chat and explained all of this and asked for the item that I had ordered. The Customer Service rep went and tried to get me a replacement and then came back and said that since I was issued a refund, they can't send me a replacement and to re-ordered the item. They can't undo the refund. To which I replied that this was a limited edition item and it's pretty much gone and I can't reorder this. So that's it. Amazon played the shell game on me and now I have lost this item. I can't believe that they didn't reach out to me to ASK what I wanted to do, they just made that choice for me.

[Robbie The Robot]

Hope this brings a little happiness to someone’s day -

PSL9BHX02SEWC5A7 Frontier
P3U3H1J0B0USVVH5 Country
P4WAF7U1CB04WAV9 Wrath
P1QL7E5PZT0GF969 Spock
P0FKW2A886KY4TT7 Voyage
P576MFH81DX3J7T3 Motion

There is potential for typos.PM me if so.

[Cap.T]

Originally Posted by Paisano80

Can someone confirm who bought the Spanish version of the Director's Edition whether the set contains the TV cut of the movie or not?

Some people on the German Movieside-Forum reported that the Spanish-Version does NOT include the TV cut even though it is mentioned on the package!

Edit: Just reread there again, and a member called "Mr. Bitcoin" reported that he had ordered the Spanis-Verison and that it definitely does not include the TV-Cut and that it is not a 5-Discs-set.

[Gold Ranger]

I ordered this, got it, was completely damaged.
Returned it...
I paid $87ish for the movie.
My refund is only $79
They refuse to help or give the rest of my money back

[Vilya]

Originally Posted by Gold Ranger

I ordered this, got it, was completely damaged.
Returned it...
I paid $87ish for the movie.
My refund is only $79
They refuse to help or give the rest of my money back

Who is "they" exactly?

You can always call your credit card company and file a dispute; I would on principle alone.

[Gold Ranger]

Originally Posted by Vilya

Who is "they" exactly?

You can always call your credit card company and file a dispute; I would on principle alone.

amazon, amazon store card
my friend's account, she ordered for me.
She has to wait til monday until she can.

[Vilya]

Originally Posted by Gold Ranger

amazon, amazon store card
my friend's account, she ordered for me.
She has to wait til monday until she can.

Amazon's store card is actually owned and operated by Synchrony Bank, so filing a dispute would not be handled by Amazon. I hope that she gives 'em hell!

[Gold Ranger]

Originally Posted by Vilya

Amazon's store card is actually owned and operated by Synchrony Bank, so filing a dispute would not be handled by Amazon. I hope that she gives 'em hell!

Oh, she will!

[Cap.T]

Originally Posted by Bolty

Are you saying the actual set arrives and on the back it mentions 5 discs and when you open it, it does not contain 5 discs?

Or are you saying the artwork on this site mentions 5 discs but the actual package does not?

I can see where the artwork on this site might be an early temp version that is wrong but I find it hard to believe that they actually have sets going out that are flat out wrong about what the set contains on the back of the package!

I'm not saying anything. The guy on Movieside says it's a three disc set. I myself have the UK-Set and have no idea what's on the back of the artwork of the spanish version.