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Here's another ASC article with some interesting stuff on James Cameron's 'lucid night' approach to night photography and some other interesting insights.

link

I've seen the film in 70mm. It's an astonishing thing to see (and hear). I hope the UHD can live up to that sort of experience.

It doesn't. It looks to me JC didn't care about this film finition, so it's full of color and contrast/luminosity errors. Like all the shots of both Arnolds in the dark in the intro are too bright, until he shows his invitation, and then we're back on the old balance. The tango scene lost all it's colors, and the red are now orange. They never were orange, in the theaters or on any video support.

(2023-12-12, 09:37 PM)Stamper Wrote: [ -> ]It doesn't. It looks to me JC didn't care about this film finition, so it's full of color and contrast/luminosity errors. Like all the shots of both Arnolds in the dark in the intro are too bright, until he shows his invitation, and then we're back on the old balance. The tango scene lost all it's colors, and the red are now orange. They never were orange, in the theaters or on any video support.

We haven't seen the UHD yet, unless it's the Hulu rip that's floating around. If it is, yuck. It looks nothing like the print I saw.

EDIT: Nevermind, the digital streaming versions hit this week didn't they?

Yes, I had the Hulu already, and the streams are mostly the same, only cleaner.
That orange for red thing, which other people on other forums have noticed, is weird.

Cameron is just mental. Look at what Sony is doing with their 4K releases...that's the gold standard. Why go to so much trouble to artificially make things look like he does when...you don't have to?

The funny thing is Point Break UHD is the best Cameron recent release out there in this batch of remasters.
It's the only one he didn't messed with.

My only guess is that maybe they feel the need to scale/refine visual effects shots because they were done at a lower resolution when originally rendered. Hogwash. Just scan the negative at 4K plus the IP for the effect shots. There's no reason to tinker this much with films that were already incredible to look at upon release. He's reimagining the work like our pal George. Someone prominent needs to point this out.

These are a new level of insanity and represent a terrible revisionist danger for films to face moving forward.
And to think Lucas had done American Graffiti and made it the worst UHD since T2…then Cameron rolls up and says hey wait a minute hold my beer…

I'll take the beer.