Robert George
Screenwriter
- Joined
- Jul 3, 1997
- Messages
- 1,198
Been a busy day, but finally found a few quiet minutes to take a look at this new disc. Perhaps it is my mood this evening, something in the air, I don't know. I will note I have not watched the first release from Fox in a long time, and did not feel the need to pull out that disc because, well, because.
Because this is one of the most beautiful films I can remember and Criterion's transfer is equally beautiful. I feel I must mention a few names that no one pays much attention to save for award season. Production designer Paul Austerberry, Art Director Nigel Churcher, and set decorators Jeffrey Melvin and Shane Vieau stunningly created del Toro's vision to be gorgeously photographed by Cinematographer Dan Laustsen.
Color saturation and density are simply perfect as is black level and contrast. Lausten's use of light and shadow is the work of a true artist setting the mood of the film from scene to scene expertly and without obscuring necessary detail. The HDR10 grade seems perfect for this transfer. I never found myself wondering if Dolby Vision might have improved the look of the images. This transfer was approved by del Toro, and I have to think this is the film he wants to be seen. I can think of no other reason he brought this project to Criterion.
Obviously I am a fan of this film (though my wife thinks it's "weird") and I have to say as this disc played out, I sat in stunned silence. With a wide smile.
I suppose the casual fan of this film that already has the previous disc will be fine with that. Personally, I'll never look at my copy again.
Viewed on a calibrated 83" LG OLED display. The lossless 5.1 soundtrack played through Denon AVR post processed for 7.2.2 soundfield.
(No, still retired. Just feeling inspired tonight.)
Because this is one of the most beautiful films I can remember and Criterion's transfer is equally beautiful. I feel I must mention a few names that no one pays much attention to save for award season. Production designer Paul Austerberry, Art Director Nigel Churcher, and set decorators Jeffrey Melvin and Shane Vieau stunningly created del Toro's vision to be gorgeously photographed by Cinematographer Dan Laustsen.
Color saturation and density are simply perfect as is black level and contrast. Lausten's use of light and shadow is the work of a true artist setting the mood of the film from scene to scene expertly and without obscuring necessary detail. The HDR10 grade seems perfect for this transfer. I never found myself wondering if Dolby Vision might have improved the look of the images. This transfer was approved by del Toro, and I have to think this is the film he wants to be seen. I can think of no other reason he brought this project to Criterion.
Obviously I am a fan of this film (though my wife thinks it's "weird") and I have to say as this disc played out, I sat in stunned silence. With a wide smile.
I suppose the casual fan of this film that already has the previous disc will be fine with that. Personally, I'll never look at my copy again.
Viewed on a calibrated 83" LG OLED display. The lossless 5.1 soundtrack played through Denon AVR post processed for 7.2.2 soundfield.
(No, still retired. Just feeling inspired tonight.)
