cda1143

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Have you tried downloading the HD version of Wonderful Life from iTunes to see how it compares to the 4K stream and disc?
That’s a good idea. Thanks. I never thought of that. I have compared the new UHD, the new Blu-ray, and both the new iTunes 4K versions – HDR, and SDR. Of those, my preference is definitely the Blu-ray. I'm with RAH (and the other disappointeds) on this one. None of the 4K versions look right to me.

Apple doesn't actually have two different versions of the 4K stream. They only have the 4K HDR. If you watch in 4K SDR, the ATV actually converts the color space and dynamic range. The ATV usually does a very good job with this conversion (at least for projection). But with this release, although I much prefer the iTunes SDR over the HDR, it still doesn't look right and I prefer the Blu-ray.

With an ATV4K, the only ways to view the HD version from iTunes would be to download it, and then watch the downloaded version streamed from a computer, or watch it over a non-4K ATV. In that case, I wonder which 1080 master iTunes is using - the newest Blu-ray, or one of the previous ones?
 

Robert Crawford

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I'm going to move these Warner Archive Blu-ray vs. iTunes HD digital posts to a separate thread as this thread needs to stop being side tracked.

The new thread link to discuss Warner HD digitals on iTunes is the following:

 
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Worth

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...In that case, I wonder which 1080 master iTunes is using - the newest Blu-ray, or one of the previous ones?
I'm pretty sure iTunes uses the same master across the board - if there's a 4K master, it's used for 4K, HD and SD.
 
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Harry-N

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Over the weekend, I finally got to sit down and watch TO CATCH A THIEF on the 2012 (actually 2017) Blu-ray. I have no idea regarding the blue vs. green argument other than what I've read in this thread. There seem so be camps on both sides, much like the aspect ratio issues of some of Kubrick's films. I did notice a few scenes where there was obviously a source of green light reflecting off someone's hair or another object. It feels like Hitchcock wanted to emphasize the green, much the way he did in VERTIGO, or even more, the way that John Boorman later used green reflections in EXCALIBUR.

If Hitch was trying to get the sky to be slate blue through the use of green filters, this frame might be a good example of that result.

vlcsnap-2020-05-04-151400.jpg


It's a pretty dark frame capture, but in the right light and a darkened monitor, you can see the difference between the building's green facade and the blue sky. [Full disclosure: the frame above comes from Amazon Prime's print, but that's the way the 2017 Blu-ray looks to me.]

Much of the time, remember, I was viewing this movie for the first time, so paying attention to the story was more important than the details of the print. But the nice-looking print certainly never got in the way of my enjoyment of the picture.

Grace Kelly's car looked blue to me. There was perhaps one scene where it had a more ashen look that could be taken as silver, depending on the color temperature of your TV/monitor. I set me Sony to neutral, though I know a lot of professional types recommend the warm settings, which look too ruddy/reddish to me. I judge the setting by how black & white looks best, and the war settings make black & white look sepia-toned to me.

From descriptions I've read here, I didn't expect a great big murder mystery thriller, and the movie certainly is not that. It had its twist, and I really didn't guess it until fairly well into the movie.

It's a movie I'll want to revisit on occasion, and visiting the French Riviera during lockdown was a fun diversion. Next time I'll probably play the movie with the commentary track. While I was happy to have this disc with the mono track, I think I watched it with the default stereo. It didn't sound gimmicky - or even very much "stereo" - to me.

I don't expect to ever need to see the newest version that this thread has been about, as I see nothing wrong with what was done in 2012.
 
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DennisBassi

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I'd jump in right now, Allen, and get that 'old' 2012 transfer while it's still around. You won't be disappointed. Even on my 150-inch screen it looks wonderfully filmic, and despite Cary's suntan, is a wonderful experience after having suffered such disappointing transfers to DVD in the past. Go on, jump right in, the Mediterranean water's fine.
As for the debate over the day-for-night scenes, for true Day for Night, you you do of course have to turn to the French master, Truffaut.
Looking on Amazon I see 2 editions of the “2012” version: one issued in 2017 and one issued in 2012. Does anyone know the difference? Does the 2017 issue still have all the extras?
 

Harry-N

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I bought the 2017. Supposedly it's the same transfer as the 2012 with the same extras.

Was it a change in packaging or distribution or something like that?
 

Mark-P

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Looking on Amazon I see 2 editions of the “2012” version: one issued in 2017 and one issued in 2012. Does anyone know the difference? Does the 2017 issue still have all the extras?
There are actually three releases, all identical. Paramount released it it 2012, then when Warner got a distribution deal for Paramount titles, Warner issued it in 2013. After the 3 year distribution deal expired, Paramount reissued it themselves in 2017.
 

Worth

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Well, I wasn't planning on getting this, but all the debate made me curious so I picked it up. It's not as bad as I was expecting. I don't know which is more correct, but I prefer the colour on the new release. There's definitely some "grain management" here - it's not a smeary mess, but it doesn't look anywhere near as sharp as it should, especially for a VistaVision title. Between the DNR and the elevated brightness, there's a flatness to the image. I looked at the old disc for the first time in a while, and now I think it's had some electronic sharpening applied. So neither blu ideal.
 

Kilgore

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RAH this has been discussed before I'm sure, but the moire artifacts in Cary's shirt early in the movie are pretty much always going to be an issue, right? Is there any way to correct it?
 

DennisBassi

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There are actually three releases, all identical. Paramount released it it 2012, then when Warner got a distribution deal for Paramount titles, Warner issued it in 2013. After the 3 year distribution deal expired, Paramount reissued it themselves in 2017.
Thanks. Assuming it has the same extras I am going to purchase the 2017 while I still can.
 

Robert Harris

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I just rechecked the 2020 vs 2012 releases of To Catch a Thief, and I'm feeling a bit akin to Royal Dano's character in The Right Stuff, as a purveyor of bad news.

I've appended to my original review, lowered the rating to 2.5, which would allow for a DVD master to be used for Blu-ray, and made additional notes.

While I generally don't like to place frame grabs out front, the examples above are quite accurate to the source.

The new special edition is actually that much worse than the 2012, which has my brain going to strange places.

The folks at Paramount (as well as Velma) ain't dumb. They're good people.

I'm now wondering if with all of the craziness out there in the world at the moment, if two things may have occurred.

1. An incorrect master has been shipped, possibly one originally sourced, but not down-rezzed for DVD;

2. That the studio may be so understaffed, that no one, at any responsible level, caught anything wrong - especially with potential layers of QC.

This disc should really be an embarrassment for all involved...

However, if it comes down to a shipping or pulling error, it becomes a great deal more palatable.

As long as the release is pulled from distribution, there is a recall, and replacement discs issued.

That would be really easy.
 

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