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I'm quite pleased with the overall quality of the 4K disc, but I clearly suspect they went a bit too far with the grain removal. The sound is very nice as well.

This is going to be interesting in 4K, as the previous 1080p transfer was plagued with noise and the source wasn't exactly pristine. But the film was shot in a very rough style, with fast, wide open lenses (softer look), very low light levels, and probably Kodak 5247 was heavily pushed or...

I'm halfway through the 4K Blu-ray of "Casino Royale" (2K DI from Super 35mm) and I find it very processed, with halos and poor sharpness. Most likely the fault of the DI, not the disc itself, but it wasn't as obvious back in the day projected on 35mm.

James Cameron only used 65mm (and 3-D) for the Universal Studios attraction "Terminator 2: Battle Across Time" back in 1996, but then it wasn't supposed to be released on video. He didn't like anamorphic, which provided at the time the biggest negative area for regular 35mm formats, but also...

I'd say 1.66:1 was used in Europe well into the 80's, but most films shot with that A.R. in mind should translate well to 1.85:1, with the two Kubrick films from the 70's being an exception.

"Airport" looks pretty good on Blu-ray, although there should be room for improvements if transferred to a 4K disc from the 65mm OCN. I've always found the BD's audio a bit lacking, with very little stereo separation and depth, a rarity for a 4 or 6 mag track.

Yes, of course, but I feel that those who don't like the revisionism that has been applied also have the right to express their opinions, specially in a forum devoted to films in Blu-ray and UHD.

I agree with you, but bear in mind "TITANIC" wasn't shot only on EXR 5245 (50 ASA) stock, which was balanced for daylight and had very low sensitivity (and thus, very fine grain). 5245 was used for the daylight outdoor scenes. 7245 was the same stock in 16mm, and it wasn't used on this film...

If he insists in doing so, it's exactly because he wants to preserve his photochemical timing for home video. A scan of the OCN implies a digital color correction (that will try to mimic the photochemical one). Not that I support that point of view, but from a purist's (specially for his very...

That's absolutely common in the industry. There are plenty of color-correction plugins to add grain and other film related artifacts (gate weave, dirt, halation, even film-like colors, etc) as many people find digital cameras too clean. "Dehancer" and "Film Convert" are some of the most popular...

I've just seen some screencaps from "TRUE LIES" and all the detail is gone. Jamie Lee Curtis has received half of "The Irishman" face lifting process for some reason. While some people may be happy with the film looking very crisp and "prettier", for me just a 4K scan of the OCN, some cleaning...

Yes, it probably does. TITANIC was an optical blow up from Super 35 to 35mm anamorphic (sometime before the advent of Digital Intermediates). And a 4K direct scan from the OCN does matter, and I support that, of course. It’s kind like watching the original negative, timed, with all its info...

I have finally seen TITANIC in UHD and agree with most comments. It looks very good but it's a processed look and overall no longer resembles what we saw in theaters 25 years ago. Some close-ups are a little waxy and the whole thing has an oversharpened appeareance. In 35mm this was a very fine...

The previous disc had some passages that were grainy as hell, and it didn't look to me like film grain at all. I hope this has been improved.

All 4-perf 35mm anamorphic processes are similar, but they differ in quality and have to be used with different cameras. Most people prefer Panavision lenses because of that and their look, but in the early 70's Todd-AO came out with their own 35mm anamorphic process, labeled "Todd-AO 35", and...

Yes, "The Greatest Story Ever Told" does feature some of the very best (anamorphic) 65mm photography ever, including a good use of the full 2.76:1 ratio in some scenes, an aspect ratio that on the other hand, I'm not particularly fond of. The scenes shot at dusk in the Colorado river area...

The face replacement was pretty obvious in the original 35mm prints, IMHO.

I've always regarded "Titanic" as one of the sharpest 35mm spherical films I've ever seen at the theater. The daylight scenes shot on 50 ASA stock were astonishing, particularly the sunset scenes on the deck between Kate Winslet and Leonardo Di Caprio. It was a great optical blow-up from Super...

I miss the intermission too. The Blu-ray is not perfect (as I said I prefer the original colors, that I saw in a very good 35mm print with Dolby Stereo in early 2012) but at least the film was restored at a time that I had strong doubts that it would be seen just in HD.

George Lucas had already shot "THX 1138" in 2-perf, and I believe "American Graffiti" used Haskell Wexler's own Cameflex camera with Nikon still lenses. He later came in to help, once the movie had already started shooting, when George Lucas found out that he couldn't shoot available light at...

The OCN was cut to the second, shorter version of the film, so if it ever happens, it won't be from the best source. The current Criterion Blu-ray was mastered from color separations at 2K. Anyway, any improvements from a 4K Blu-ray would be in terms of HDR mastering, better codec, less...

I've always felt the current Blu-ray (which has great audio) left a lot of room for improvements in image quality. Being a rather grainy, Super 35 film, it's a pity that the OCN wasn't available or used for the restoration, as removing the optical blow-up step should result in better quality.

I still remember how crisp the daylight outdoor scenes on the Titanic deck looked back in the day. Among the best of the Super 35 format (they were shot on 50 ASA stock and Primo lenses with a photochemical finish).

It's funny because the editor of American Cinematographer, Herb A. Lightman, attended the shoot and was given an extra camera to operate during the shooting of the final confrontation scene. He was clearly delighted, and had nothing but praises for the then upcoming film. Which is ironic given...

The approach was more to make you part of the period, than impress with the vistas. After all, despite its great settings, the film it’s a rather intimate story (which was part of the criticism that it suffered, as it was over produced, over scheduled and over budget). The first time that I saw...

"Heaven's Gate" was mostly shot through smoke, Double Fog filters (which don't double the effect of the fog, they are misnamed, as they are a combination of regular Fogs and Low-Contrasts) and about 95% of the film, on anamorphic zoom lenses (Panavised versions of the Cooke 20-100mm and...

A few years ago, in 2011, I was able to see an excellent 35mm print of the premiere long cut, with Intermission. It was not the slightly edited director's cut than came out later in 2012, and it had the original & optical Dolby Stereo. If featured a color scheme very similar to that of the...

I agree 100% with you. In the photochemical era, there was an answer print, or an approved I.P., etc. from which prints were struck, etc. Ideally, the digital restoration from the OCN should be as close as possible to that photochemical master. But while you can have a digital master, and struck...

A scan of the original camera negative, 2K or 4K, will show up what indeed was in the negative. Answer prints, colour grading, etc. would have been applied at a later stage in the photochemical process. That's why having an approved color-timed reference is so important with restorations, as...

The previous Blu-ray was extremely grainy, probably more than it should be for a mid 80's film, even shot with the then new high speed negatives, which weren't exactly great.