I never picked up a copy as I’m averse to boxed sets, and avoid wherever possible, also premising that a domestic release would be forthcoming.
I’m pleased that I didn’t, as reviewers were generally unimpressed.
Recently, Scream Factory delivered their own take on the same data files, and the results are far and away superior to the earlier version.
I’ve not seen the film in aeons, but have fond memories of early screenings, and the new 4k does a wonderful job of allowing me to re-access the film.
I’ve come away very pleased. There are still some niggling digital oddities, but nothing of concern, and all presumably going back to the Canal master.
Scream’s new version gives the film plenty of real estate for data throughput – 100 GB for a short film plus extras – a lot of them.
Both the 4k disc and the BD share the same basic extras, but with a large additional group also found on the second disc.
There’s also something unusual. Scream has released both discs with Dolby Atmos. Most distributors tend to cripple the Blu-rays, and dumb them down to lesser data. For this I commend Scream.
Image quality is generally superb, with only effects shots being occasionally less so. Again, not a problem.
The image has solid grain, which may be too much for some. I’m fine with it, especially at a nominal seating distance.
Color are rich, where they should be, more muted in other areas. Nice blacks. Overall, a quality disc.
I purchased my copy, and it arrived as a steelbook, without damage. It’s an attractive package, with reflective underlays, and surrounds the entire unit with a single piece of artwork.
I’ve been told that steelbooks have far greater value and public acceptance than Bitcoin, so one might hope for investment quality with The Fog.
Image – 4.75 (Dolby Vision)
Audio – 5 (Dolby Atmos & restored monaural)
Pass / Fail – Pass
Plays nicely with projectors – Yes
Upgrade from Blu-ray – Yes
Upgrade from previous 4k – Absolutely
Makes use of and works well in 4k – 4
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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