2023-07-30, 01:51 AM
I’m starting to lean more towards the colorization comparison. I’m even seeing HDR pop out and messing with the image on more modern films now given a new 4K makeover and HDR grade. I just watched the UHD of ghost protocol, and while the new scan was great and miles ahead of the old Blu-ray, the HDR grading frequently distracts and there are many moments that I think take you out of the film. The SDR Blu-ray is a relief to switch back to in those moments in spite of how dated it is. It’s of course been a long while but I did see a print of that theatrically and I certainly would’ve noticed images and shots having major pop out light and color affects like crazy. I don’t think any catalog film should have HDR applied to it unless someone goes through and meticulously does a shot by shot grading by hand. I’ve seen a few so far be done really well like the BFI Get Carter or arrow’s new release of Croupier.
While some of it may have the aspect of looking at a theatrical release print it’s more like you’re doing a raw scan and seeing a presentation that is not how you would see it theatrically. It’s most notable whenever you have bare light bulbs, flashlights, car headlights
anything that’s a white source: such as a stack of papers on a table or a lamp, or sunlight coming in through a window, and especially any titles or credits that are white. Those stand out, like a beacon which of course kind of makes you avert your eyes for the titles of Raiders and Crusade. And paramount or someone screwed with the Raiders titles so now the South America credit comes up in the wrong place and stays on too long.
Sony can be really bad about their HDR grades. That led some people to dub those transfers as being hit by the Sony light cannon. If you look at the arrow UHD of Flatliners, you’ll see a beautiful new 4K Sony scan of a rather lovely looking film that’s been treated like crap on video…… But is ruined by a horribly Intense HDR Dolby vision grade on all the light sources. There’s several instances of car headlights that cross the screen or bright flashlights and worst of all flashing in some of the vision sequences where suddenly your TV becomes a freaking strobe light in your face.
While some of it may have the aspect of looking at a theatrical release print it’s more like you’re doing a raw scan and seeing a presentation that is not how you would see it theatrically. It’s most notable whenever you have bare light bulbs, flashlights, car headlights
anything that’s a white source: such as a stack of papers on a table or a lamp, or sunlight coming in through a window, and especially any titles or credits that are white. Those stand out, like a beacon which of course kind of makes you avert your eyes for the titles of Raiders and Crusade. And paramount or someone screwed with the Raiders titles so now the South America credit comes up in the wrong place and stays on too long.
Sony can be really bad about their HDR grades. That led some people to dub those transfers as being hit by the Sony light cannon. If you look at the arrow UHD of Flatliners, you’ll see a beautiful new 4K Sony scan of a rather lovely looking film that’s been treated like crap on video…… But is ruined by a horribly Intense HDR Dolby vision grade on all the light sources. There’s several instances of car headlights that cross the screen or bright flashlights and worst of all flashing in some of the vision sequences where suddenly your TV becomes a freaking strobe light in your face.
Damn Fool Idealistic Crusader