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Posted: |
Apr 7, 2022 - 12:58 PM
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By: |
Spinmeister
(Member)
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The color grading is all wonk as well, all blue moved into purples.
Eh? Before maligning the product, I'd suggest checking the colour settings of whatever display you are viewing it on (calibrate your red), because that's absolutely not what I am seeing.
um, Solium saw the same thing
So you and Solium constitute a quorum now? Maybe you two just have poorly calibrated displays.
While I don't concur that the entire blue range has shifted to violet, I won't deny that some select scenes are perceptually more saturated to favour more brilliant blues which, in turn, also raises the perceptual value of violet. It's also possible that you are attributing to error to what was actually shot in camera, because there are a number of scenes filmed with a violet hue, the ambient lighting of the transporter room being one such example.
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Posted: |
Apr 7, 2022 - 1:20 PM
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By: |
Ado
(Member)
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The color grading is all wonk as well, all blue moved into purples.
Eh? Before maligning the product, I'd suggest checking the colour settings of whatever display you are viewing it on (calibrate your red), because that's absolutely not what I am seeing.
um, Solium saw the same thing
So you and Solium constitute a quorum now? Maybe you two just have poorly calibrated displays.
While I don't concur that the entire blue range has shifted to violet, I won't deny that some select scenes are perceptually more saturated to favour more brilliant blues which, in turn, also raises the perceptual value of violet. It's also possible that you are attributing to error to what was actually shot in camera, because there are a number of scenes filmed with a violet hue, the ambient lighting of the transporter room being one such example.
There were originally some rather pastel light violet tones, I agree with that.
But this is showing a push, the original DVD that Wise supervised did not show that much push in color.
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Here's another one of those inconsistencies I'd like to know the story behind:
But without being told, wouldn't you have more likely guessed the 4th image was from the TE?
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As far as these images are concerned, I think the 4k theatrical looks good, the remastered DC looks also good. Obviously, the latter has more contrast. There's nothing really changed, it's just how you set the color of an image. I would have to see this how it looks in action. Some may of course prefer whatever it is that they originally got used to, but I think unlike the lounge screenshots, which looked awful, the 2022 imagery here looks good, perhaps better than ever before.
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Whats ya gonna do when yer stuck between a rock and a hard place?
It's a 42 year old, grainy, soft focus genre film renovated to meet the unforgiving standards of a delivery format intended to satisfy the expectations of a consumer market biased toward contemporary VFX and HD resolution (i.e. no film grain).
Do I think the end results can at times appear too severe? Yes. Particularly where achieving true black is the goal, which, as the HD DE demonstrates, is highly problematic considering at least 98% of ST:TMP's visual information is either low lit, shrouded in shadow(s), or resides entirely upon a stark black (or very dark) background.
Boosting contrast, saturation and sharpening of the grainy, soft focus source to achieve (or render against) true black will, of course, have deleterious effects upon subtle gradients, if not complete loss of information … as the mutilated officer's lounge sequence clearly demonstrates.
Lucky for us we happen to have the means of manipulating our media devices to deliver visual results more to our personal liking.
Aside: other than the officer's lounge sequence, I think the second biggest faux pas would have to be the opening credits with the chintzy, razzle-dazzle, Las Vegas billboard shimmer.
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Whats ya gonna do when yer stuck between a rock and a hard place?
It's a 42 year old, grainy, soft focus genre film renovated to meet the unforgiving standards of a delivery format intended to satisfy the expectations of a consumer market biased toward contemporary VFX and HD resolution (i.e. no film grain).
Not sure if that's so. I mean, STAR TREK - THE MOTION PICTURE was originally shot on film and made for the theater. Home video releases were an afterthought at the time STAR TREK - THE MOTION PICTURE was released. Betamax, VHS and PAL-SECAM standards were the best at home for many years to come.
However, the theatrical screen always had "4K" resolution, as 35mm film has always been sufficient for 4K (not to mention there were 70mm prints from TMP). So it's not that a film has to be upscaled for a HD resolution, but restored to it can look the best it has ever looked. The 4K Bluray of the theatrical cut of TMP looks much better than the Director's cut on SD DVD.
Yeah, I expect movies like LAWRENCE OF ARABIA to look top notch on 4K, as they looked top notch when they were originally released on the big screen. I'm quite happy that 4K Bluray and TVs allow for a great home theater experience.
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Careful. I used "renovated", not "upscaled".
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