Fantastic. I'm on my phone at work but doesn't it look like the blanket tints have been dialed back a bit maybe?
The complaints over on the bluray.com are of some compression issues here and there and perhaps some contrast issues since apparently the Final Cut master boosted the contrast a bit.

The biggest question is some are saying that the 4K disc has a completely remixed audio track which has altered and changed effects. I'm really hoping this didn't happen.

Sadly captain, in comparing these to the FC BD, it is a little less green but not by enough to make it a big deal in my eyes.

(2017-10-06, 10:28 PM)PDB Wrote: Also thanks for the shout-out Jonno. Haven't been on MS for a bit and just saw your intro. Very cool.

A pleasure! Yours really is my go-to version - for me, the FC creates as many problems as it solves (though it looked great in DCP a few years ago).

My description is a little inaccurate, though - the Criterion regrade is of course the international cut, whereas the UK in 1982 had the same domestic version as the US. Indeed, I'm still not clear on which countries originally screened the more violent cut (Future Noir fails to expand on this point).

How good are the colors on the Workprint version? I've never perused that one before.

This is a phenomenal undertaking, and really looks amazing from the screen comparisons (I particularly dig the DC Regrade screen of the approach to the Tyrell Corp "Ziggurat", very warm as I remember it).

Ever since I saw the Final Cut screened at the Toronto International Film Festival theater (TIFF) a few years ago, with Douglas Trumbull in attendance no less, apart from the welcome minor corrections, I was immediately jarred by the color timing alterations. Since then I've viewed the FC perhaps 4 more times in theaters whenever they screen it at TIFF. Lost to me was the memory of the comparative analog warmth of the DVD DC (the only version I'd seen at that point), and in it's place was a cold, muddy digital recolor that immediately summoned images of The Matrix and Minority Report: in short, a modernist commercial attempt to make an "old" film feel contemporary and familiar to new potential consumers.

For my part, I unfortunately find these drastic palette shifts to the blue/cyan, along with the general darkening of the print in the FC, to greatly affect my enjoyment of one of my all time favourite films; thank goodness there's an initiative like this helmed by impassioned individuals to provide a return to form of this classic.

As an aside, after viewing Blade Runner 2049 (IMAX 2D in Toronto),  Denis Villeneuve seemed to follow the color grading modifications as presented in the Final Cut, did anyone else that saw it feel the same?

(2017-10-13, 06:20 PM)jonno Wrote:

(2017-10-06, 10:28 PM)PDB Wrote: Also thanks for the shout-out Jonno. Haven't been on MS for a bit and just saw your intro. Very cool.

A pleasure! Yours really is my go-to version - for me, the FC creates as many problems as it solves (though it looked great in DCP a few years ago).

My description is a little inaccurate, though - the Criterion regrade is of course the international cut, whereas the UK in 1982 had the same domestic version as the US. Indeed, I'm still not clear on which countries originally screened the more violent cut (Future Noir fails to expand on this point).

Again very kind. Thanks!

I'm hoping this new version will have all the best parts of the original but improve on any of the faults. Plus I'm also enjoying the DC's color timing. It's a nice alternative to the Criterion LD and the BDs.

Also agreed on the FC. I love all versions of BR but it's probably my least favorite.

Funny enough: I never saw BR in the theater in '82. Too young. So the version I grew up with is the IC on home video since that became the default version in the US until the DC. I only saw the TC for the first time with the Blu-ray set.

(2017-10-14, 12:22 AM)Clutchins Wrote: How good are the colors on the Workprint version? I've never perused that one before.

The workprint's colors are pretty close to the TC, IC and DC's BD colors. I came to that conclusion after trying to grade the IC to the WP. The differences are minor at best.

(2017-10-15, 10:38 PM)The_Atomik_Punk! Wrote: This is a phenomenal undertaking, and really looks amazing from the screen comparisons (I particularly dig the DC Regrade screen of the approach to the Tyrell Corp "Ziggurat", very warm as I remember it).

Thank you very much. Hope it will be worth it.

(2017-10-13, 02:26 AM)captainsolo Wrote: Fantastic. I'm on my phone at work but doesn't it look like the blanket tints have been dialed back a bit maybe?
The complaints over on the bluray.com are of some compression issues here and there and perhaps some contrast issues since apparently the Final Cut master boosted the contrast a bit.

The biggest question is some are saying that the 4K disc has a completely remixed audio track which has altered and changed effects. I'm really hoping this didn't happen.

The HDR changeshop the look from this HDR capture

(2017-10-16, 07:52 PM)dvdmike Wrote:

(2017-10-13, 02:26 AM)captainsolo Wrote: Fantastic. I'm on my phone at work but  doesn't it look like the blanket tints have been dialed back a bit maybe?
The complaints over on the bluray.com are of some compression issues here and there and perhaps some contrast issues since apparently the Final Cut master boosted the contrast a bit.

The biggest question is some are saying that the 4K disc has a completely remixed audio track which has altered and changed effects. I'm really hoping this didn't happen.

The HDR changeshop the look from this HDR capture

I don't follow, dvdmike

Am I guessing correctly when saying that the HD-DVD Bladerunner set didn't fair well in the picture quality department?

^ The encodings were the same as those used on the first BD set.