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Angelo Colombus

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I think that Panasonic issues firmware updates when necessary, especially for their flagship player. The fact that these supplements play fine on Angelo's UB9000 points to it being a defective disc. Unfortunately, I don't have a different machine to test it on.

EDIT: I emailed Arrow this evening and will post their response when I get one.
Actually i have the Panasonic UB900 and not the UB9000 but the disc should have played on any player. I would suggest returning it back to the place where you bought it and get another one.
 

David Wilkins

Supporting Actor
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I’m not happy with the quality of this edition. Based upon the appearance of the previous BD on my system, I was expecting a lot more from the UHD. Even the color grading is a disappointment, with what appears to me, a green bias. Unless my mind changes after subsequent viewing, this rates as my most disappointing UHD. If I had been able to preview it on my system, I wouldn’t have bought it.

For reference, I’m using an OPPO UDP-205, viewed through an LG OLED 65 C6P
 

titch

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I’m not happy with the quality of this edition. Based upon the appearance of the previous BD on my system, I was expecting a lot more from the UHD. Even the color grading is a disappointment, with what appears to me, a green bias. Unless my mind changes after subsequent viewing, this rates as my most disappointing UHD. If I had been able to preview it on my system, I wouldn’t have bought it.

For reference, I’m using an OPPO UDP-205, viewed through an LG OLED 65 C6P
When I compared - the, frankly, abominable - 2012 region B-locked Scanbox/Universal blu-ray to Arrow's UHD, I found that it was the 2012 blu-ray that had a green bias. The UHD colour grading looks fine.

I'm using an Oppo UDP-203 projected using an Optoma UHD60.

IMG_5558.jpg IMG_5562.jpg IMG_5559.jpg IMG_5563.jpg IMG_5560.jpg IMG_5569.jpg IMG_5561.jpg IMG_5565.jpg IMG_5566.jpg IMG_5568.jpg
 

titch

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I’m not happy with the quality of this edition. Based upon the appearance of the previous BD on my system, I was expecting a lot more from the UHD. Even the color grading is a disappointment, with what appears to me, a green bias. Unless my mind changes after subsequent viewing, this rates as my most disappointing UHD. If I had been able to preview it on my system, I wouldn’t have bought it.

For reference, I’m using an OPPO UDP-205, viewed through an LG OLED 65 C6P
Looking at the production credits in the booklet, this is a Koch Films project, not a Fidelity In Motion or Silver Salt project. Only the authoring for Arrow Films was done by David Mackenzie. The grading was done in Germany. The other UHDs I have from Koch Films (Zombie/Dawn Of The Dead, Dog Soldiers, Susperia) weren't impressive. But I couldn't see the the green bias you're seeing - could this be a calibration issue?
IMG_5574.jpg
 

OliverK

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I’m not happy with the quality of this edition. Based upon the appearance of the previous BD on my system, I was expecting a lot more from the UHD. Even the color grading is a disappointment, with what appears to me, a green bias. Unless my mind changes after subsequent viewing, this rates as my most disappointing UHD. If I had been able to preview it on my system, I wouldn’t have bought it.

For reference, I’m using an OPPO UDP-205, viewed through an LG OLED 65 C6P
The problem with some of these Arrow releases is that they release movies on UHD that do not even have full 1080p detail:

Add to that a rather flat and foggy photography for most of the movie and you may easily be disappointed. In my opinion most would have been happy with a Blu-ray of the new master.
 

titch

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The booklets Arrow Video include with their limited editions are generally very good, and the one included in Dune is no exception. There's even an excerpt from Lynch On Lynch (1997), where David Lynch discusses the film - probably the last time he did this with any journalist.

I pulled out one of my Norwegian film books, written in 1988 by the legendary (in Norway) chief film critic for the national state broadcasting corporation, NRK. He was the opposite of any good-looking American TV personality, with an appearance that, charitably, was best suited for radio (although his high-pitched voice wasn't good for radio either). One of the chapters in his book was devoted to the press junket for Dune in New York, the very first time anyone outside of the production had ever seen the completed film. Fifty journalists from all over the world had been flown to New York and sheltered at the Parker Meridian hotel for a week, with a programme that included seeing the film in the presence of the cast, director, producers and all the PR people, followed by dinner with Dino De Laurentiis in his restaurant in Trump Tower and interviews with Frank Herbert, Carlo Rambaldi, Rafaella De Laurentiis and David Lynch.

It's a riveting account of unfolding disaster. The first stop on the tour, was the press screening of the film in a red, moth-eaten screening room on the 34th floor of a building in Times Square. The author wrote that he hadn't experienced such confusion watching a film, since the first time he saw Last Year At Marienbad in 1961. Everybody not involved in the production were sneaking nervous glances at each other, utterly lost. When the film ended and the house lights were switched back on, the actors stood up and smiled and held each other's hands. Everyone else's faces in the auditorium were ashen. Nobody clapped. At dinner, a PR woman asked the author what he thought. He replied, "lovely food". Communication was difficult with Rambaldi, who only spoke Italian. After 20 minutes of describing the challenges of the mechanics in the sandworms, he sketched a charcoal drawing of E.T. for each journalist. Nobody dared to discuss the film with Dino at his dinner. Frank Herbert was ebullient and forthcoming but David Lynch was absolutely terrified. He'd realised that none of the world's press understood a thing. Everyone involved with the production was infused in the world of Dune and suddenly realised that their efforts were completely incomprehensible to just about anyone, who hadn't read the novels. Great stuff from a bygone era.
 

JoshZ

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I watched the disc over the weekend. I did not see any green bias.

Unfortunately, I also didn't see any sense that the film had actually been graded in HDR. Contrast is very flat on the whole, and colors not especially vibrant. I'm satisfied with the disc overall, but it doesn't look terribly different from the old Universal Blu-ray, aside from cleaning up the dirt and specks that were an issue with that transfer.

The Paul M. Sammons commentary is terrific. He worked on the film as a publicist and sounds like he'd been waiting a long time to dish some dirt on the very troubled production. I haven't gotten to the other commentary yet.

The Merchandising featurette is also good and covered most of the highlights I hoped it would mention.
 
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JoshZ

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I thought that the color grading difference between the 4K and the old Universal Blu was quite striking, with the win (IMO) going to the new 4K release.

I didn't have a chance to do a direct comparison yet, but the HDR grade just seemed very flat and drab, with countless missed opportunities to emphasize highlights that would have been appropriate. When the Atreides first arrive on Arrakis and step out into the scorching desert sun beating down on them, it basically looks like a moderately sunny afternoon.
 

David Wilkins

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When time allows, I will go back to the previous BD and make a direct comparison. But from fairly recent viewing, my expectations for this UHD were much higher. What others indicate above was also a first impression: flat and dull, lacking vibrancy.

Maybe it’s already obvious, but I lack the technical background and experience that some of you have. But I have enjoyed home theater for a long time, and have watched literary countless discs of every disc format. I was in the theater for opening weekend of this film. While I don’t claim to have accurate memory of that screening, I feel certain that it was a far cry better than this UHD. And isn’t that what these continuing format evolutions are for: getting closer to the source?

Otherwise, it is what it is, and perhaps appreciation for it will grow over time. But my initial statement stands. If I had been able to preview this disc at home, it’s very doubtful I would have bought it. Add to that the missing documentary, no BD, and the high price. I was aware of these points before the item shipped, but in total they drive home the already lowered sense of value.
 

Lord Dalek

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^well...

That's the Todd AO 35 look for ya. Crappy cameras. Crappy lenses. All because DDL didn't want to pay Panavision a rental fee (he'd later invest in an even cheaper/lousier process in J-D-C Scope for his DEG films)..

I have never seen an 80s De Laurentiis film that didn't have something off about it visually. Whether its bad lab work or those rotten cameras, films like Firestarter and Conan always come out quite mushy looking.

It's not only that, though that's certainly part of it. I understand that wishful thinking is part and parcel of these threads. That's something I indulge in myself on occasion. Still, some posters seem to think that the initial release prints might have been bad, but the photography wasn't. And yet they used those Todd-A-O 35mm rigs, with soft lenses and poor registration, which David Lynch was totally opposed to but was overruled. There may be a semblance of attractiveness in the lighting and costumes, but digital clean-up, no matter how artfully done, can't hide problematic cinematography. As I recall, there's a very shallow depth of field, and though those background paintings are lovely, they drift, as do the actors. Kenneth McMillian went in and out of focus as he moved from one place to the next in his big scene. And I don't think that was just a poor print. That would make it soft overall, but the focus shifts on him depending where he is. And no, I don't put the blame on Freddie Francis but those crappy lenses over which he had no control. I'm sure he did what he could to minimize the problems. Then there's the continuity issues. I'm not talking about the fact the film makes no sense as edited, which of course is a concern, but the lighting continuity. After it was taken away from Lynch, it looks like a mad slasher was the editor. The lighting and the color changes from one shot to the next. And again, I don't think you can attribute that to a poor print.

It's not like we didn't warn ya.
 

JoshZ

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I had a very strange experience watching the Dune disc again last night. I wanted to do a comparison with the old Universal Blu-ray. I watched about half an hour of that disc first before switching to the 4K disc. I then went to check the HDR settings in my projector and discovered that the projector wasn't detecting HDR at all. It came through as SDR BT.709. Ejecting and restarting the 4K disc did nothing. Only by powering off and rebooting my OPPO player did the projector finally kick into HDR mode.

I don't recall experiencing this before. I'm not sure whether the problem was with the disc, the player, or the projector.

I also don't remember whether I explicitly checked the HDR settings the first time I watched the disc.

In any case, after I got it working, I felt that the UHD disc has slightly better contrast than the old Blu-ray, but still didn't see much "HDR" about it. Highlights seem to be well within the SDR range.

The Uni Blu-ray holds up very well and is still a very pleasing way to watch the movie. Its main problems are a little gateweave instability noticeable during the credits and other on-screen text, and recurring specks and detritus on the film elements. The UHD is more stable and cleans up most (not all) of the physical damage.

Other than that, the two discs look very much alike. Differences are mostly small. There's not much noticeable difference in picture detail, aside from the grain being more pronounced in 4K.
 

JoshZ

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Then there's the continuity issues. I'm not talking about the fact the film makes no sense as edited, which of course is a concern, but the lighting continuity. After it was taken away from Lynch, it looks like a mad slasher was the editor. The lighting and the color changes from one shot to the next. And again, I don't think you can attribute that to a poor print.

I'm still waiting for Lark144 to elaborate on the alleged color continuity issues. I just watched the movie again the other night and still have no idea what he's talking about.

OK, so, revisiting this point, I will acknowledge that there are some very strange color juxtapositions in the film, such as the view from inside Piter's cablecar, where one window is tinted green and the others blue.

I think the intent was to reflect the lighting on the buildings outside, but the angle is wrong and it definitely looks weird. Not to mention the sloppy matte edges.

However, this was clearly a deliberate decision, as it's all visible in a single shot. It's not an editing or continuity issue.
 

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dpippel

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I watched my copy today, and IMO the 4K UHD is a huge improvement over Universal's Blu-ray. I doubt that Dune will ever look any better than this. However, there are problems with some of the supplemental material. I get audio only when I play the following extras on the 4K UHD disc:

Designing Dune
Dune FX
Dune Models & Miniatures
Dune Costumes
Deleted Scenes Introduced by Raffaella de Laurentiis
Destination Dune

All of these featurettes have no video at all. Black screen. Anyone else experiencing this issue?
I received a replacement set from Amazon today and am seeing the same problem. Whenever I attempt to play the 2005-produced extras on the UHD disc, I get Dolby Digital audio but NO video at all. Just a black screen. Obviously not a defective disc issue unless they're ALL defective.

So, I played around a bit and discovered that if I disable Dolby Vision on my Panasonic UB9000, which forces the player to use only HDR10 playback, the video on these extras is just fine. Can anyone else enable DV on a Panasonic UB9000/820 and let me know if they get the same result, or a different result?
 
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David Wilkins

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Okay… okay… I finally had a proper viewing, including comparison. Much of what I said earlier is now retracted, including the bit about color bias. The UHD is worthy, and this marks another lesson for me in the limitations of original elements and their production. This example is probably the best it will ever look, aside from spending a ridiculous amount on complete restoration. In absolute terms, it’s never going to be a stellar example of UHD.
 

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