- Joined
- Feb 8, 1999
- Messages
- 18,433
- Real Name
- Robert Harris
Don't get what I'm about to say wrong.
I love 4k UHD.
Arrow Films has been going full-speed ahead bringing out 4k UHD Blu-rays of older films, and they're to be congratulated for that. Arrow, which is apparently now owned by The Hut Group, which owns Zavvi seems to be pushing 4k, and that's a good thing.
But sampling three new releases, what I'm not seeing is any rationale for 4k. In fact, I'm seeing a reason not to go that route, especially with Children of the Corn, produced by Hal Roach Studios, which has an extremely coarse grain structure verging on pointillism, as well as a lack of high frequency imagery aside from that grain.
My presumption was that it was shot in 16mm, but that seems not to be the case.
Bird with the Crystal Plummage has soft main titles, and little imagery that may hit that 4k (or 3k, or 2k) barrier.
Same situation with Django, which doesn't have the requisite imagery to warrant the expense of a 4k release. If one is scanning the OCN, yes, by all means, do that at 4k for preservation, but a Blu-ray would have yielded equally lovely results outside of fan favorite HDR.
I'm not calling these releases out to denigrate Arrow, which is a superb publishing entity, with a great technical team. I'm simply noting that bringing out a film in 4k isn't a cookie cutter situation, and that films need to be properly vetted for resolution, as well as an myriad of other attributes before going that route.
In an odd way, it may come down to bragging rights, a bit akin to purchasing a Tesla S Plaid or BMW X5M Competition, and using it to pick up groceries - and never going near a track.
Point also being, that sometimes the use of 4k makes things worse, and not better. With Children of the Corn, you just don't want to be anywhere near the projection screen or monitor, as the imagery gets unpleasant.
All of that noted, here's where I see the potential root of the problem.
The final consumer, possibly especially horror and sci-fi fans, who have no concept of what 4k is, or why it should be used in very special circumstances. When a title is announced, the first question to hit the forums is "Will it be in 4k?" "I won't buy it unless it's 4k." When it comes to sound, "Why is it only 7.1? Why isn't it Dolby Atmos?"
So what happens?
The owners of IP (Universal monsters) and boutique publishers are put in a position where they're almost forced to publish in 4k, even though there may be zero rationale to do so.
Just food for thought. I'll now stand off my soap-box.
Image – 3 - 4.5
Audio – 5
Pass / Fail – Pass
Upgrade from Blu-ray - No
RAH
I love 4k UHD.
Arrow Films has been going full-speed ahead bringing out 4k UHD Blu-rays of older films, and they're to be congratulated for that. Arrow, which is apparently now owned by The Hut Group, which owns Zavvi seems to be pushing 4k, and that's a good thing.
But sampling three new releases, what I'm not seeing is any rationale for 4k. In fact, I'm seeing a reason not to go that route, especially with Children of the Corn, produced by Hal Roach Studios, which has an extremely coarse grain structure verging on pointillism, as well as a lack of high frequency imagery aside from that grain.
My presumption was that it was shot in 16mm, but that seems not to be the case.
Bird with the Crystal Plummage has soft main titles, and little imagery that may hit that 4k (or 3k, or 2k) barrier.
Same situation with Django, which doesn't have the requisite imagery to warrant the expense of a 4k release. If one is scanning the OCN, yes, by all means, do that at 4k for preservation, but a Blu-ray would have yielded equally lovely results outside of fan favorite HDR.
I'm not calling these releases out to denigrate Arrow, which is a superb publishing entity, with a great technical team. I'm simply noting that bringing out a film in 4k isn't a cookie cutter situation, and that films need to be properly vetted for resolution, as well as an myriad of other attributes before going that route.
In an odd way, it may come down to bragging rights, a bit akin to purchasing a Tesla S Plaid or BMW X5M Competition, and using it to pick up groceries - and never going near a track.
Point also being, that sometimes the use of 4k makes things worse, and not better. With Children of the Corn, you just don't want to be anywhere near the projection screen or monitor, as the imagery gets unpleasant.
All of that noted, here's where I see the potential root of the problem.
The final consumer, possibly especially horror and sci-fi fans, who have no concept of what 4k is, or why it should be used in very special circumstances. When a title is announced, the first question to hit the forums is "Will it be in 4k?" "I won't buy it unless it's 4k." When it comes to sound, "Why is it only 7.1? Why isn't it Dolby Atmos?"
So what happens?
The owners of IP (Universal monsters) and boutique publishers are put in a position where they're almost forced to publish in 4k, even though there may be zero rationale to do so.
Just food for thought. I'll now stand off my soap-box.
Image – 3 - 4.5
Audio – 5
Pass / Fail – Pass
Upgrade from Blu-ray - No
RAH
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