- Joined
- Feb 8, 1999
- Messages
- 18,411
- Real Name
- Robert Harris
Quentin Tarantino's The Hateful Eight, is a technological watershed moment in the history of cinema.
Being a long time, large format weenie, I was thrilled early on when I heard the initial rumors that Panavision would be pulling the old Ultra-Panavision glass out of storage, and fitting it to their newest incarnation of 65mm reflex cameras.
While the majority of the film takes place in a single interior (which was refrigerated to below freezing), and 70mm, especially anamorphic 70mm probably wasn't necessary, the resultant images, especially with Robert Richardson behind the camera, show just how far one can go with large format and Kodak's newest fine grain camera stocks.
Boston Light & Sound was brought in to locate, restore and set up just below the target of 100 theaters, to run the film in the archaic 2.76:1 aspect ratio. Special lenses had to be created for the various venues. The fact that The Weinstein Company supported what some thought of as lunacy, is to me, the greatest gift to cinephiles for 2015.
Apparently, there were two cuts of the film. One which ran only in 70mm with some additional shots and the Intermission, as well as a 35 reduction that ran at Mr. Tarantino's venue in Hollywood.
While I would have liked to see the two versions on the Blu-ray, what we have the general release cut at 168 minutes, but nothing is missing as it relates to the story.
The audio, which has great density, is DTSHD-MA 5.1, and not 7.1, which is interesting.
Hopefully, we'll get Hateful Eight in 4k, either in the Roadshow version, on two discs, or on a single disc once the 100GB discs are available.
A gorgeous, reference Blu-ray, that uprezzes majestically to 4k.
Image - 5
Audio - 5
4k Up-rez - 5
Pass / Fail - Pass
Highly Recommended
RAH
Being a long time, large format weenie, I was thrilled early on when I heard the initial rumors that Panavision would be pulling the old Ultra-Panavision glass out of storage, and fitting it to their newest incarnation of 65mm reflex cameras.
While the majority of the film takes place in a single interior (which was refrigerated to below freezing), and 70mm, especially anamorphic 70mm probably wasn't necessary, the resultant images, especially with Robert Richardson behind the camera, show just how far one can go with large format and Kodak's newest fine grain camera stocks.
Boston Light & Sound was brought in to locate, restore and set up just below the target of 100 theaters, to run the film in the archaic 2.76:1 aspect ratio. Special lenses had to be created for the various venues. The fact that The Weinstein Company supported what some thought of as lunacy, is to me, the greatest gift to cinephiles for 2015.
Apparently, there were two cuts of the film. One which ran only in 70mm with some additional shots and the Intermission, as well as a 35 reduction that ran at Mr. Tarantino's venue in Hollywood.
While I would have liked to see the two versions on the Blu-ray, what we have the general release cut at 168 minutes, but nothing is missing as it relates to the story.
The audio, which has great density, is DTSHD-MA 5.1, and not 7.1, which is interesting.
Hopefully, we'll get Hateful Eight in 4k, either in the Roadshow version, on two discs, or on a single disc once the 100GB discs are available.
A gorgeous, reference Blu-ray, that uprezzes majestically to 4k.
Image - 5
Audio - 5
4k Up-rez - 5
Pass / Fail - Pass
Highly Recommended
RAH