I would hope the reason is that these are from state of the art 4k masters that are supposed to make some money back for the studio.Aside from Vertigo, why in 4k?
It looks okay - it is NOT from the VistaVision negative - you can't even imagine what it would look like done from that - well, I don't trust Paramount at the moment, but if it were done well it would blow your mind.Does The Trouble With Harry need work? I recall the Blu-Ray looking just great.
THE TROUBLE WITH HARRY, along with all of his Paramount films except for TO CATCH A THIEF was owned by Alfred Hitchcock, and would be handled by Universal.It looks okay - it is NOT from the VistaVision negative - you can't even imagine what it would look like done from that - well, I don't trust Paramount at the moment, but if it were done well it would blow your mind.
I'll be thrilled to be able to get them here in the States. Who knows if Amazon FR will be shipping to the US again by September.What I won't do is order them from France, now that Bill Hunt thinks they're coming out here in the States at around the same time frame.
IIRC the best surviving elements for Rear Window and Psycho are 2-3 generations off and The Birds is loaded with process shots. Hitchcock was pushing the envelope with rudimentary 50s technology. The cost is his films don't hold up much definition under the scrutiny of a 4k scan. Even Vertigo's a bit chewed up under the fog filters and plates.Vertigo was shot in VistaVision - none of the others were.
There’s no benefit in transferring film to 4K?
I understand perception of resolution depending on projection size, but what about benefit of color palette / high dynamic range? That's what I would look for in a 4k release (especially in Vertigo). Is there a reason this could not be a significant upgrade?Generally, no. But dependent upon film and era. Generally, yes, if you're the one doing the licensing...
Is it closer to original intent, though? Certainly, Hitchcock would have been well aware of what an audience watching a release print would be seeing, and that's nowhere near the clarity and stability of 4K digital.I didn't see the posts commenting on condition when I replied (above), and I agree that flaws and effects can be more apparent in 4k releases. I'm still pretty forgiving of those unavoidable imperfections with older films, if dynamic range and color in digital formats can be improved, i.e. closer to original intent.
"There’s probably less than twenty seconds of additional footage that existed in a German 35mm print that has been seamlessly added into the normal release we all have.What missing footage, specifically? (Pardon me if I should already know this, especially since Psycho was the first movie I ever bought on VHS -- in 1982.)