|
Banned
|
Quote:
Originally Posted by Djt31
|
This is an awesome review, I love how in-depth it is, far more than what we usually see. It really is worth reading in its entirety. I'll post below all the paragraphs that talk only about all the processing that Cameron did to the picture, but the whole review is worthy reading. Translated using Google Translate.
The 4K Ultra HD Blu-ray format is recognized for its exceptional ability to reproduce the original silver texture of films, provided that the scanning and cleaning processes of the original negatives are carried out carefully, and the grain management remains faithful to the original silver projections. In the case of this new edition of Titanic, we are in the presence of a totally different approach. Under the supervision of James Cameron, artificial intelligence technology developed by Park Road, a post-production company based in New Zealand, was used in the remastering of the film. The grain, naturally present on the original negative and clearly visible on the previous Blu-ray edition, has been reduced. This reduction, although not aggressive, is sufficiently marked for us to observe a fairly obvious reduction in the intensity of the filmic texture. And, on this "degrained" basis, an artificial improvement of the image definition was probably carried out on all the plans. With a digital reconstruction of information and a rather dazzling intensification of the degree of sharpness. And this intensification is so obvious that it clearly gave us the impression of a "sports treatment", with truly over-sharpened and razor-edge contours, more or less thick. This should please a lot of people (even those who reduce the 4K UHD format to just the degree of sharpness), a little less to those whose eyes have been trained and who are more vigilant in the face of James Cameron's new proposals. In any case, be aware that it is likely that a subtle digital grain has been added over this final reconstructed rendering. An attempt to veil the highly manipulated nature of the image and to attenuate certain recurring criticisms of the abusive DNR? We think so.
It is important to emphasize that this particular remastering of Titanic does not present the symptoms of a totally excessive treatment based on the shortcomings of DNR à la Terminator 2. Today, and this is where we bring nuances to our observations, the optimization was carried out with temperance and discernment, contributing, with a sense of proportion, to the visual experience of the film and making this 4K edition an enticing experience that is not necessarily unpleasant to the eye. We should also be wary of comments from influencers on social networks who can, in just a few moments, spread exaggerated opinions of reality based on zoomed-in photos. These practices never do justice to the viewing experience carried out at a normal distance from the screens and tend to create buzz, without nuance.
Regarding the perception of definition and sharpness, the optimization process carried out remains rather effective on close-ups. It appears that the artificial intelligence has been finely tuned to detect and enhance the details of the faces, as evidenced by the close-ups of Rose which benefit from a subtle enhancement of the texture of the skin and eyes, evoking techniques of "Brow Lift" digital tools responsible for restructuring eyelashes and eyebrows. Similarly, discernible finesse is palpable through textures and clothing, where the protagonist's dresses demonstrate increased sophistication. Rich materials and intricate embellishments like embroidery, beading and lace are rendered with greater precision and finer intra-image contrast. Wide shots of the ship, whether docked, sailing or sinking, reveal the most dramatic digital enhancements. The increased sharpness highlights details like the steel hull's rivets, which stand out with truly renewed clarity. The Victorian-style furnishings in the cabins, including Rose's, as well as the valuables and decorative accessories also benefit from this definition reconstruction, adding an extra touch of clarity to this vast ensemble.
But some aspects of this new 4K UHD version of Titanic have flaws reminiscent of those seen in the 4K UHD edition of Avatar. These issues mainly manifest themselves in wide shots as well as shots showing characters at medium distance, where the technology used sometimes produces unwanted artifacts. Faces can appear sallow and lack natural texture, as is the case with Bill Paxton at 19:05, where the effects applied to his face are particularly unsightly. Similarly, at 1:53:33, when first class passengers are waiting to board the lifeboats, the image processing can give the impression of artificial sharpness, particularly for extras with faces that no longer have anything natural (and even less in x2 zoom). Another point of contention rests on the impact of the algorithm on shots with shallower depth of field. By accentuating background elements, which in the original shots were sometimes intended to remain blurred, the remastering disrupts the focus and balance of the compositions as imagined by the director of photography. Extras and other details in the background are certainly becoming sharper, but was all this really planned in the photographic design of the time?
These digital treatments thus give the images an appearance that could suggest filming with contemporary ultra-high definition digital cameras, rather than with Kodak photochemical emulsions typical of the 1990s and period lenses. And this impression of excessive “digitalization” takes away part of the charm linked to the aesthetic of Titanic. This is our opinion.
|
All countries
Argentina
Austria
Belgium
Brazil
Bulgaria
Chile
China
Colombia
Cyprus
Czech Republic
Estonia
Denmark
Finland
Greece
Hong Kong
Hungary
Iceland
Indonesia
Ireland
Israel
India
Latvia
Lithuania
Malaysia
New Zealand
Norway
Philippines
Poland
Portugal
Romania
Russia
Singapore
South Africa
South Korea
Sweden
Switzerland
Taiwan
Thailand
Turkey
Ukraine
United Arab Emirates
Linear Mode
