Produced in 1955, it looks correct in a 1.66 aspect ratio.
Problem with Giant is the way it was handled in post. Thousands of feet of horrific dupes, from which there’s no escape.
Newly scanned in 4k, and with a slightly updated color palette, it has a bit more life than the old Blu-ray.
If you walk up to a projection screen, you’ll see a tiny bit more detail in 4k, but at a normal seating distance, not so much. It is what it is.
And what it is, is extraordinary, from first frame to last.
The imagery comes up a bit brighter, and those dupes possibly have a tiny bit more shadow information, but they still look like what they are – soft, poorly produced dupes on the early Eastman Color stock.
If only.
If only, this film had been set for dye transfer printing instead of Warner Color, but it wasn’t. That would be something devoutly to be wished.
What you’re getting in 4k is everything that’s on the original element.
The new 4k is a bare bones affair – no George Stevens documentary. You’ll have to keep your Dean collector for that on a separate disc. But you do get the wonderful commentary by Mr. Stevens, Jr., Ivan Moffat and Stephen Farber.
Image – 5 (HDR)
Audio – 5 (DTS-HD MA 2.0)
Pass / Fail – Pass
Plays nicely with projectors – Beautifully
Makes use of and works well in 4k – 3.75
Upgrade from Blu-ray – If you love the film
Very Highly Recommended
RAH
Robert has been known in the film industry for his unmatched skill and passion in film preservation. Growing up around photography, his first home theater experience began at age ten with 16mm. Years later he was running 35 and 70mm at home.
His restoration projects have breathed new life into classic films like Lawrence of Arabia, Vertigo, My Fair Lady, Spartacus, and The Godfather series. Beyond his restoration work, he has also shared his expertise through publications, contributing to the academic discourse on film restoration. The Academy Film Archive houses the Robert A. Harris Collection, a testament to his significant contributions to film preservation.
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