Everything is already available in all formats, as well as True Lies also in 4k in all formats

My theory is that JC get them to use the Avatar tech, that renders humans into CGI, repaint grass etc. on parts of the image using power windows, to get the films up to today's digital shooting. It started with T2, and they continue with all the back catalogue. Unless an indie company does it, Terminator is going to look the same.

In the super 35mm years JC's approach was to overexpose to get what he called a 'really beefy' negative, which when put through the rest of the workflow (including the blowups to 65mm and anamorphic 35mm) would yield good release prints. One can only assume these dense o-negs are problematic when it comes to scanning and restoration.
I will have to dig out the ASC article but it details JC and the way he worked with the super 35mm process and labs in general. What was interesting was he was very concerned about damage to the negative and had it written into the contract with the lab that the negs would be handled as little as possible, including colour timing passes, so when the IP was struck it wasn't necessarily the final timing, and additional timing would be done for the interneg stage to then strike release prints.

Well, True Lies is a mess https://slow.pics/c/17DNozaY

(2023-12-13, 01:02 PM)Stamper Wrote: Well, True Lies is a mess https://slow.pics/c/17DNozaY

The source from Movies Anywhere has longer frame fill compared to Amazon and has better grain and detail.


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Now I’m waiting for the Abyss Special Edition to come out with HDR and DoVi, otherwise only 4k SDR has been uploaded to the network.

(2023-12-13, 01:02 PM)Stamper Wrote: Well, True Lies is a mess https://slow.pics/c/17DNozaY

those are upscaled, 100%

Thanks, I'll check it out. My feeling is that these remasters shows the limit of film (Super 35 especially).
Most close up with extreme long lens are going to look awesome, but not short lenses medium or large shots.
See how reviewers mostly select close ups to show the details. A second after, you have a medium shot for JLC with waxy face or rather CGI botox.
This is what happens when you degrain. Original grain helped to even all the shots, so that they mostly looked all with the same definition.
I think the HDR TL also has a color problem, that doesn't seem to translate to the regular SDR version. Reds are orange.
It's kinda toned down on the colors, but nothing you can't fix with your TV settings.

(2023-12-13, 03:27 PM)Stamper Wrote: Thanks, I'll check it out. My feeling is that these remasters shows the limit of film (Super 35 especially).
Most close up with extreme long lens are going to look awesome, but not short lenses medium or large shots.
See how reviewers mostly select close ups to show the details. A second after, you have a medium shot for JLC with waxy face or rather CGI botox.
This is what happens when you degrain. Original grain helped to even all the shots, so that they mostly looked all with the same definition.
I think the HDR TL also has a color problem, that doesn't seem to translate to the regular SDR version. Reds are orange.
It's kinda toned down on the colors, but nothing you can't fix with your TV settings.

I agree 100%. Many shots have a lot of DNR applied and then are re-grained. The MA is the best but its still a terrible remaster.

"- Dickless! If they took care of business, I'll be out of business!" Paxton was so great in that pathetic role.
I'm wondering what they use to regrain. Film Convert?

"Park Road" out of NZ is who fumbled the Peter Jackson's The Beatles "Get Back" upscaling that killed all the fine detail and had the DNR cranked up to 100.







I'm fairly certain they also worked on the LOTR UHD's, also killing detail.









Odds are, Cameron has been in NZ alot (he's physically moving there permanently), he's hired out Weta for the Avatar sequels and probably had them work on True Lies and maybe the others.
Jamie Lee's hair strands in the UHD version there are AI-drawn (upscaled). And I'm fairly certain those lines on her sweater were never even captured on the original 35mm negative (but not certain).