A few words about...™ The Hateful Eight -- in Blu-ray

Robert Harris

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Robert Harris
Quentin Tarantino's The Hateful Eight, is a technological watershed moment in the history of cinema.

Being a long time, large format weenie, I was thrilled early on when I heard the initial rumors that Panavision would be pulling the old Ultra-Panavision glass out of storage, and fitting it to their newest incarnation of 65mm reflex cameras.

While the majority of the film takes place in a single interior (which was refrigerated to below freezing), and 70mm, especially anamorphic 70mm probably wasn't necessary, the resultant images, especially with Robert Richardson behind the camera, show just how far one can go with large format and Kodak's newest fine grain camera stocks.

Boston Light & Sound was brought in to locate, restore and set up just below the target of 100 theaters, to run the film in the archaic 2.76:1 aspect ratio. Special lenses had to be created for the various venues. The fact that The Weinstein Company supported what some thought of as lunacy, is to me, the greatest gift to cinephiles for 2015.

Apparently, there were two cuts of the film. One which ran only in 70mm with some additional shots and the Intermission, as well as a 35 reduction that ran at Mr. Tarantino's venue in Hollywood.

While I would have liked to see the two versions on the Blu-ray, what we have the general release cut at 168 minutes, but nothing is missing as it relates to the story.

The audio, which has great density, is DTSHD-MA 5.1, and not 7.1, which is interesting.

Hopefully, we'll get Hateful Eight in 4k, either in the Roadshow version, on two discs, or on a single disc once the 100GB discs are available.

A gorgeous, reference Blu-ray, that uprezzes majestically to 4k.

Image - 5

Audio - 5

4k Up-rez - 5

Pass / Fail - Pass

Highly Recommended


RAH
 

Crysist

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Greg
Mr. Harris, there was some blueish/purpleish cast in the trailers (note the color shift inside the stagecoach starting @ 0:32; also some inside the cabin in the backgound). When I saw the film in 70mm it wasn't there. I've heard that the Bluray has fixed the cast seen in the trailers. Can you say whether you noticed in the trailers and whether it's fixed in the Bluray release?

Also, supposedly there are Bluray versions being released in Brazil (?) and France (with the French getting an 80 dollar boxed set!) that have the 70mm cut. Do you think it may come to the States?
 

Charles Smith

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The fact that The Weinstein Company supported what some thought of as lunacy, is to me, the greatest gift to cinephiles for 2015.
Amen.

It was an evening to cherish. And I'll happily take what they've given us now, in the hope that the "ultimate" release will follow at some point. Glad to hear the release is a 5/5/5 winner!
 

Crysist

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That's the magic word. Supposedly.
At this moment, I doubt that they will get the longer version. But who knows?
Well, the link I have there of the box set specifically advertises the longer version of the film. (note "Version Longue" on the front of the box)
 

TheBat

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I saw the 70mm of hateful 8 back in January. it played at a local theatre. it was the first time I saw a movie with an overture and intermission. I enjoyed the movie. I still say that the kill bill series is my favorite of QT.

Jacob
 

Dr Griffin

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Quentin Tarantino's The Hateful Eight, is a technological watershed moment in the history of cinema.

Being a long time, large format weenie, I was thrilled early on when I heard the initial rumors that Panavision would be pulling the old Ultra-Panavision glass out of storage, and fitting it to their newest incarnation of 65mm reflex cameras.

While the majority of the film takes place in a single interior (which was refrigerated to below freezing), and 70mm, especially anamorphic 70mm probably wasn't necessary, the resultant images, especially with Robert Richardson behind the camera, show just how far one can go with large format and Kodak's newest fine grain camera stocks.

Boston Light & Sound was brought in to locate, restore and set up just below the target of 100 theaters, to run the film in the archaic 2.76:1 aspect ratio. Special lenses had to be created for the various venues. The fact that The Weinstein Company supported what some thought of as lunacy, is to me, the greatest gift to cinephiles for 2015.

Apparently, there were two cuts of the film. One which ran only in 70mm with some additional shots and the Intermission, as well as a 35 reduction that ran at Mr. Tarantino's venue in Hollywood.

While I would have liked to see the two versions on the Blu-ray, what we have the general release cut at 168 minutes, but nothing is missing as it relates to the story.

The audio, which has great density, is DTSHD-MA 5.1, and not 7.1, which is interesting.

Hopefully, we'll get Hateful Eight in 4k, either in the Roadshow version, on two discs, or on a single disc once the 100GB discs are available.

A gorgeous, reference Blu-ray, that uprezzes majestically to 4k.

Image - 5

Audio - 5

4k Up-rez - 5

Pass / Fail - Pass

Highly Recommended


RAH
I'm wondering if the audio is directional on the Blu-ray? The 70MM theatrical mix had most dialogue coming from the center channel, with the exceptions being from someone off camera sent to left or right.
 

Billy Batson

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Yeah, I also saw it in 70mm (Odeon, Leicester Square) & loved it. For some reason we're not getting the Blu-ray until 9th May in the UK. The big French box looks to be the longer version, but it's very expensive, & those pesky French subs may not be removable. I'm going to buy the regular version, & if the longer version is released down the line, I might buy that as well, it's not as if these Blu-rays cost hundreds of dollars, in fact they're quite cheap really.
 

rsmithjr

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I was able to see the 70mm version at four theaters the Bay Area: Kabuki, Westfield Mall, Mercado in the south bay, and the Grand Lake in Oakland (which still has a curtain).

It will also be shown in a few weeks in 70mm at the Castro in SFO and the Seattle Cinerama Theatre. The Seattle venue may be the best place to see it.

The film is really quite good and the Oscar-winning score is amazing. Sorry it didn't get more attention.
 

titch

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Just a thought about the future of large format movies: In January I saw a mint print of The Hateful Eight projected in 70 mm at The Norwegian Film Institute immediately after I had seen The Revenant digitally projected on the largest screen in Oslo (32 x 72 feet). Although I really love film, and have on occasion traveled overseas to catch new prints of large format films projected (such as 2001 and The Master, as well as IMAX projections of The Dark Knight and Interstellar), I had to concede that the digital picture rendered for The Revenant was streets ahead of what the Ultra Panavision 70 mm was able to achieve. Everything - the colour, focus and detail was so stunning in The Revenant; the picture was surprisingly film-like and didn't "feel" digital to me, unlike Sicario. I enjoyed The Hateful Eight more as a movie (it's not really possible to "enjoy" The Revenant!) but I am excited as to what technology will be able to achieve in the next few years. Digital Cinerama isn't so far-fetched!
 
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DP 70

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I saw this twice in London in 70mm also at the Odeon and the picture was really great also the Datasat 5.1 was excellent also, looking forward to getting the BD.
I am sure the DCP was only 5.1 so an 7.1 audio version was never released.
 

Worth

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Just a thought about the future of large format movies: In January I saw a mint print of The Hateful Eight projected in 70 mm at The Norwegian Film Institute immediately after I had seen The Revenant digitally projected on the largest screen in Oslo (32 x 72 feet). Although I really love film, and have on occasion traveled overseas to catch new prints of large format films projected (such as 2001 and The Master, as well as IMAX projections of The Dark Knight and Interstellar), I had to concede that the digital picture rendered for The Revenant was streets ahead of what the Ultra Panavision 70 mm was able to achieve. Everything - the colour, focus and detail was so stunning in The Revenant; the picture was surprisingly film-like and didn't "feel" digital to me, unlike Sicario. I enjoyed The Hateful Eight more as a movie (it's not really possible to "enjoy" The Revenant!) but I am excited as to what technology will be able to achieve in the next few years. Digital Cinerama isn't so far-fetched!
I felt the same way. I grew up with film and still like the look of film, but I wasn't hugely impressed with seeing Hateful Eight in 70mm. I can't imagine film projection will win too many converts as a result of this. It's easy to forget how soft projected film looks after growing accustomed to digital. Even a 2K digital presentation seems sharper than the last few films I've seen projected in 70mm. The only film presentations that continue to impress me at this point are true IMAX 15/70 productions.
 
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Kyle_D

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Just a thought about the future of large format movies: In January I saw a mint print of The Hateful Eight projected in 70 mm at The Norwegian Film Institute immediately after I had seen The Revenant digitally projected on the largest screen in Oslo (32 x 72 feet). Although I really love film, and have on occasion traveled overseas to catch new prints of large format films projected (such as 2001 and The Master, as well as IMAX projections of The Dark Knight and Interstellar), I had to concede that the digital picture rendered for The Revenant was streets ahead of what the Ultra Panavision 70 mm was able to achieve. Everything - the colour, focus and detail was so stunning in The Revenant; the picture was surprisingly film-like and didn't "feel" digital to me, unlike Sicario. I enjoyed The Hateful Eight more as a movie (it's not really possible to "enjoy" The Revenant!) but I am excited as to what technology will be able to achieve in the next few years. Digital Cinerama isn't so far-fetched!
I know people love to compare the cinematography in The Revenant to that in The Hateful Eight, but they're doing entirely different things. The Revenant is probably 95% exteriors and natural light, whereas The Hateful Eight is probably 90% interiors with studio lighting. When people say The Revenant looked "better," it's not entirely fair to attribute that to the digital capture or projection.

The Hateful Eight looked incredible in 70mm. The Revenant looked incredible in DCP. Both should make for reference Blu-rays.
 

GerardoHP

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Yes, it looks gorgeous, but being the double widescreen weenie that I am, I hate the fact that Ennio Morricone's super potent overture and the CINERAMA logo are missing. Arrrgh.
 

Dr Griffin

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Yes, it looks gorgeous, but being the double widescreen weenie that I am, I hate the fact that Ennio Morricone's super potent overture and the CINERAMA logo are missing. Arrrgh.
What about the super slow close-in on the crucifix? I never saw the general release.
 

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