Harry-N

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To use an overworked modern idiom, OMG. Referring to the screen comparison just posted, not only is the image "unsharp", it's got a faded palette that makes it look like it needs an "autocorrect" in Photoshop. And to make matters even worse, the image on the new Blu-ray appears to be cropped on all sides, zooming in on the picture in most cases. But the first shot with Mr. Hitchcock intentionally pans right to include him and to partially exclude the bird lady.

I am so happy that I read the tea leaves on this one and bought the 2017 edition. And thank you Mr. Harris for adding your eyes and ears to this matter even farther than your original review.
 
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haineshisway

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Having looked at the caps, I only one that I would take issue with is the costume ball - on the cap of the new disc there's no purple on one of the costumes but there certainly is on the disc. So, that's weird but caps are weird. As to the rest, yes, as we've all said, it's a bit of a botch and a shame it had to happen this way.
 
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david hare

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You'll also notice Bruce one of the costumes on the mid rear right , screen 9 is green in the 2012, and pale blue in the new abortion. I had thought the green roof shots were isolated in the 2012 and pronbably filtered but here it is againin splendid isolation within the frame. I can live with it. The whole color grading is in question in the new encode but it's so goddam filtered it has no detail or depth. I simply think the new disc is an unwatchable FUBAR mess. God knows what the 4K looks like in its original master.
 
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OliverK

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You'll also notice Bruce one of the costumes on the mid rear right , screen 9 is green in the 2012, and pale blue in the new abortion. I had thought the green roof shots were isolated in the 2012 and pronbably filtered but here it is againin splendid isolation within the frame. I can live with it. The whole color grading is in question in the new encode but it's so goddam filtered it has no detail or depth. I simply think the new disc is an unwatchable FUBAR mess. God knows what the 4K looks like in its original master.
I am almost happy that this release is such an epic disaster that Paramount will have to release something REALLY nice to make up for it.
Anybody want to guess when we hear from Paramount about this?
 

willyTass

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Having looked at the caps, I only one that I would take issue with is the costume ball - on the cap of the new disc there's no purple on one of the costumes but there certainly is on the disc. So, that's weird but caps are weird. As to the rest, yes, as we've all said, it's a bit of a botch and a shame it had to happen this way.
one could almost use the word, debacle , LOL
 
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Billy Batson

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Yowser! That picture is soft. I'd have thought that it's more than just too much DNR, but I dunno. Another thing I didn't like is the clipped-out whites, that weren't clipped on the older disc, but that would be down to the lighter picture. Something went wrong, Paramount is much better than this.
 

ManW_TheUncool

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This reminds me a bit of the Gladiator debacle when Paramount inaugurated their Sapphire Series for BD, including the fact a couple others were pristine, eg. Braveheart. Hopefully, they will indeed do a recall and reissue, which happened for Gladiator... though this probably won't sell as well as Gladiator did back then...

Meanwhile, I already have the 2012 BD release of TCAT to hold me...

_Man_
 

tenia

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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...
I've been told directly that Paramount are very difficult to work with technically, because what they want in terms of final restoration result is graded and filtered in ways that restoration labs don't want to perform, and is only performed after having worn down the lab staff in endless back-and-forth.

I am not surprised in any way to see they botched a movie again by having it graded and filtered in debatable ways. Not only this isn't a new behavior, but it's also one that was to be expected.

Seeing Park Circus claims there is a 4K DCP for TCAT (since, seemingly, at least Nov 19 - and it seems the 4K restoration has been screened in the US in July 19), I can only guess that this disc is sourced from a new 4K restoration, but that this restoration has simply been thoroughly digitally filtered, just like we've seen so many screwed-up restorations have been. And I mean : it's a sad fact but screwed-up restorations DO happen, more often than not because of poor technical decisions willingly made by right-holders and not just contextual under-manning or mix-up of the masters.

This disc should indeed really be an embarrassment for all involved, in such an obvious way that I'm surprised it hasn't been treated as such here from day 1.

This isn't a "touch" of DNR, or "Vista grain should be invisible at normal viewing distance". This is DNRed BAR.
And I'm lucky I have no idea about which grading is more correct, because this is clearly another issue.
And the framing too, I guess.
And the lack of OG track.

What a nightmare.
And what to way to inaugurate a new collection.

Needless to say that if this had been a Sony or a Warner title, this disc would look massively different, and I'm quite certain such a discussion would have pretty much never happened.
Paramount and Universal sure make a great couple on their Hitchcock movies. But as David Hare wrote, god knows what the original 4K master looks like without all this destructive filtering.
 
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OliverK

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I've been told directly that Paramount are very difficult to work with technically, because what they want in terms of final restoration result is graded and filtered in ways that restoration labs don't want to perform, and is only performed after having worn down the lab staff in endless back-and-forth.
Depressing if true.



Needless to say that if this had been a Sony or a Warner title, this disc would look massively different, and I'm quite certain such a discussion would have pretty much never happened.
I cannot imagine that any other studio would release something like this after having produced a new 4k DCP.
 
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OliverK

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Universal did, and on several discs.
They used ugly old masters and tried to smooth them over only to make them even worse.

They did NOT produce a 4k master and then released a smooth degrained version of a movie that was already released on a much more detailed Blu-ray years before. That must be a first in the industry and hopefully something that will never be repeated.
 

tenia

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Depressing if true.
It doesn't seem to have been the case in the past and it doesn't seem to happen for all their more recent works, but that's what I've been told.
I can only suppose that (like it's often the case for this) there are some people in Paramount's team that are generating things like To Catch a Thief, Borsalino or Grease, while other people are generating things like It's a Wonderful Life, Top Gun (though this one isn't flawless either) and Beverly Hills Cop 2. The results speak for themselves, and there are enough elements around to find the patterns and consistencies in terms of who/what is to blame for the more problematic restorations (material, laboratories, right-holders).

I cannot imagine that any other studio would release something like this after having produced a new 4k DCP.
I would have loved to see the 4K DCP but haven't. However, in my experience, it's rare that the DCPs are very different from what is used for the physical releases (see for instance what happened in Europe with Plein soleil). It's not unseen that a beautiful 4K restoration has been specifically scrubbed to oblivion for the BD, but it's much more usual that both the DCP and the BD are equally botched, simply because the issues have been generated uphill.

They did NOT produce a 4k master and then released a smooth degrained version of a movie that was already released on a much more detailed Blu-ray years before.
I was however under the impression that some of these bad Universal Hitch were new, including 4K, masters.

That must be a first in the industry and hopefully something that will never be repeated.
One could argue that Grease actually fits this kind of situation. Also from Paramount. So it's already repeating itself.
I just hope TCAT is the odd one and that the other new restorations from Paramount won't look like that.
 
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JoshZ

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They did NOT produce a 4k master and then released a smooth degrained version of a movie that was already released on a much more detailed Blu-ray years before. That must be a first in the industry and hopefully something that will never be repeated.
The Third Man - Criterion vs. Studio Canal
The Man Who Fell to Earth - Also Criterion vs. Studio Canal
 

tenia

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The Third Man - Criterion vs. Studio Canal
The Man Who Fell to Earth - Also Criterion vs. Studio Canal
SC's TMWFTE is noticeably worse looking than Criterion's (you can also add Purple Noon), but certainly not The Third Man (though SC's release has its share of issues, especially with its soundtrack). It wouldn't be unheard of some preferring a sharpened with blown highlights look, however.

This being written, your examples are restorations performed for/by different right-holders, which is a whole different beast than the same studio managing to do things things worse in 2020 than 8 years before.
 
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