Once Upon A Time In Hollywood (4k UHD) (Blu-ray) Available for Preorder

3 Stars

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Ronald Epstein

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35 Comments

  1. 'Bout time Tarantino's shot-on-film movies got released on 4K discs. I'm still holding out for a new scan on disc of Reservoir Dogs, which isn't slathered all over in DNR. Once Upon A Time In Hollywood is one of the very few movies I'll go and see at a movie theatre, even though I know I'm going to purchase the 4K disc later. Really looking forward to this.

  2. My 2 cents-

    It’s a good film, but a bit too long. DiCaprio and Pitt had better chemistry than I expected, and both were terrific. The production design is Oscar-worthy, in my opinion. Two outstanding segments in the film.

    Spoiler

    On my list of QT’s films, I’d put it in the middle of the pack.

  3. I actually waited on a line to get into the theater at BAM – it's been forever since I had to wait on a line to see a movie. The film could have been a few minutes shorter however I loved the film and I'm eager to get the bluray; this is a film that definitely warrants multiple viewings.

    No spoilers, but if you see it in the theater, don't run out before watching the credits!

  4. Richard M S

    I actually waited on a line to get into the theater at BAM – it's been forever since I had to wait on a line to see a movie. The film could have been a few minutes shorter however I loved the film and I'm eager to get the bluray; this is a film that definitely warrants multiple viewings.

    No spoilers, but if you see it in the theater, don't run out before watching the credits!

    Something happens during the end credits?

  5. Robert Harris

    […]It is imperative that those planning to screen, stay far from reviews and discussions of content.

    Thanks to this heads-up from RAH, I am primed and prepped; as the spoilers and repeat offenders of my life have long been identified and I'll know exactly who to avoid throughout the next few days. Hmm-m-m-m, perhaps I ought to play it doubly safe and sneak out later on tonight. Yup, that just might work out fine.;)

  6. PMF

    Thanks to this heads-up from RAH, I am primed and prepped; as the spoilers and repeat offenders of my life have long been identified and I'll know exactly who to avoid throughout the next few days. Hmm-m-m-m, perhaps I ought to play it doubly safe and sneak out later tonight. Yup, that just might work out fine.;)

    I’m going to be the odd man out and say that I’m actually looking forward to seeing it even more since I found out the spoilers. I don’t think I would have responded well if I were to go in blind.

  7. Just saw it last and absolutely loved it. However I have some issues with the 35mm presentation. I’ll do my best to tip toe around spoilers…

    The biggest issue was the sound. It sounded like it was a magnetic or optical soundtrack but was dragging or being tugged through the projector. The pitch would drag, most evident when songs played on the soundtrack. Was this perceived pitch problem on the digital soundtrack?

    The other issue was the reel changes. There were black flashes at almost every change- almost like they weren’t spliced correctly. Also the print looked pretty beat up for just coming out a few days ago, but given the “vibe” of the movie this was part of the look!

    Did the digital presentation look and sound like this? FYI, I saw it at the Alamo Drafthouse in Kansas City, MO.

  8. Grady Reid

    Just saw it last and absolutely loved it. However I have some issues with the 35mm presentation. I’ll do my best to tip toe around spoilers…

    The biggest issue was the sound. It sounded like it was a magnetic or optical soundtrack but was dragging or being tugged through the projector. The pitch would drag, most evident when songs played on the soundtrack. Was this perceived pitch problem on the digital soundtrack?

    The other issue was the reel changes. There were black flashes at almost every change- almost like they weren’t spliced correctly. Also the print looked pretty beat up for just coming out a few days ago, but given the “vibe” of the movie this was part of the look!

    Did the digital presentation look and sound like this? FYI, I saw it at the Alamo Drafthouse in Kansas City, MO.

    I've seen it multiple times in multiple theaters digitally and I didn't notice any problem with the pitch. And there was definitely not black frames where the reel changes would occur on the 35mm prints.

  9. On the Film Tech forum it has said that some 35mm prints had some sound problems.
    Of course on a Digital presentation none of this will happen.
    Has anyone seen a 70mm print yet ?

  10. Grady Reid

    Just saw it last and absolutely loved it. However I have some issues with the 35mm presentation. I’ll do my best to tip toe around spoilers…

    The biggest issue was the sound. It sounded like it was a magnetic or optical soundtrack but was dragging or being tugged through the projector. The pitch would drag, most evident when songs played on the soundtrack. Was this perceived pitch problem on the digital soundtrack?

    The other issue was the reel changes. There were black flashes at almost every change- almost like they weren’t spliced correctly. Also the print looked pretty beat up for just coming out a few days ago, but given the “vibe” of the movie this was part of the look!

    Did the digital presentation look and sound like this? FYI, I saw it at the Alamo Drafthouse in Kansas City, MO.

    That sounds like either incompetence or a deliberate attempt to mimic poor projection. The 35mm prints have digital tracks, why would they show it via the optical track? Black frames at the changeover, assuming they're using a platter, are the result of poor projection practice to save 5 minutes during the eventual break-down of the print. If they're running changeovers, then the black flashes show a lack of skill. And if the print is actually damaged after only a couple of days, they should be forced to remove their film projector and never allowed to touch film again.

  11. Robert Harris

    I don’t understand the desire to view an analogue dupe, as opposed to the original scans.

    Thanks for mentioning that, I was under the impression this would be another purely photochemical workflow for the release prints.

    If it isn't I do not see the point to watch it on film in the first place – once you go digital better to stay digital.

    That being said I am sure that Kodak is happy about the additional volume and I am happy that people still attend screenings of filmouts.

  12. Sam Posten

    It sounds like they did simultaneous analogue and digital workflows….
    https://ascmag.com/articles/back-in…b1Rgz5ksbnTJEGSpDLwUJLajCd7NPPI78dzBv94PRDaLM

    Yes there was a analog workprint and I like that they did a DI that only tries to to reflect a color timing that was achieved photochemically. Still it does look as if all prints go back to the DI so there is always a digital step in between.

  13. Peter Apruzzese

    …The 35mm prints have digital tracks, why would they show it via the optical track?

    I wouldn't be surprised if Tarantino specifically requested that the optical track be used.

  14. OliverK

    Yes there was a analog workprint and I like that they did a DI that only tries to to reflect a color timing that was achieved photochemically. Still it does look as if all prints go back to the DI so there is always a digital step in between.

    Right, but it still is a completely different beast than the 'regular' digital workflow, it will have slightly different look, even if there is a digital step in the middle.

  15. Sam Posten

    Right, but it still is a completely different beast than the 'regular' digital workflow, it will have slightly different look, even if there is a digital step in the middle.

    Absolutely, I like the idea to do color timing like that, I wish this would be done for more movies that are shot on film.

  16. Peter Apruzzese

    Unless the optical track was mono, that wouldn't make sense. The 70mm prints don't have mag tracks.

    The Cinema may only have Dolby A and SR and not SRD. The optical track would not be mono.
    Maybe the projectionist missed the Dolby Digital reader.
    I was at a screening last year and they missed the DTS reader on a 70mm print and had to restart the reel.
    it all happens today…:)

  17. Sam Posten

    Right, but it still is a completely different beast than the 'regular' digital workflow, it will have slightly different look, even if there is a digital step in the middle.

    Not really. They just didn't go overboard with the color tools in the DI suite and tried to match the look of the photochemically-timed workprint, but it's still the exact same DI workflow- negative, scan, DI, record-back-to-film, print. To be honest, I don't understand why they even bothered to do the DI route for the 35mm prints in this case if they just matched the look of the workprint.

    Vincent

  18. Vincent_P

    Not really. They just didn't go overboard with the color tools in the DI suite and tried to match the look of the photochemically-timed workprint, but it's still the exact same DI workflow- negative, scan, DI, record-back-to-film, print. To be honest, I don't understand why they even bothered to do the DI route for the 35mm prints in this case if they just matched the look of the workprint.

    Vincent

    Was there a cut and conformed negative, or sere selects printed and timed, for comparison.

  19. Robert Harris

    Was there a cut and conformed negative, or sere selects printed and timed, for comparison.

    There were film dailies made directly from the negative just like the old days, and Tarantino had said dailies conformed to his AVID edit for workprint screenings during cutting. According to the American Cinematographer article linked elsewhere in this thread, Tarantino was happy with the look of the workprint dailies, so the eventual 4K DI was color timed to match the look.

    Vincent

  20. Vincent_P

    There were film dailies made directly from the negative just like the old days, and Tarantino had said dailies conformed to his AVID edit for workprint screenings during cutting. According to the American Cinematographer article linked elsewhere in this thread, Tarantino was happy with the look of the workprint dailies, so the eventual 4K DI was color timed to match the look.

    Vincent

    That was as I understood the work stream. No cut/conformed, which permits easy alternate cuts.

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