Scott Merryfield
Senior HTF Member
So you're the one Lynyrd Skynyrd wrote the song for!I'm a simple man!
So you're the one Lynyrd Skynyrd wrote the song for!I'm a simple man!
I finally watched this release last night. My thoughts:
The master is incredible, and the release is by far the best I’ve ever seen the film look. I also think it looks better than Kino's releases of the Dollars Trilogy, mostly due to the color grading. I disagree with reviews suggesting that the film has been completely de-grained. RAH’s comments that the disc has the softer, more velvety texture of a blow-up print are on-point.
Most of the time, the encode looked fine from my seating distance (~7.5 feet from a 65” display). I occasionally noticed some digital crunchiness in smoke, the bokeh of close-ups, and, most frequently, in the sky gradients. I probably would not have noticed it unless this thread and Bill Hunt's review had primed me to look for it. I’m not totally willing to blame insufficient bitrate, either. Right after OuaTitW, I put on Criterion’s UHD of Days of Heaven. That release is encoded at almost 80+ mbps, and I observed similar issues.
I should note that my playback device does not fully support Dolby Vision. I rip my discs to a Plex server, and I play them back with a Dune HD network media player. The Dune player only decodes the HDR10 base layer and the Dolby Vision dynamic tone mapping metadata (RPU); it does not decode the second video track in the FEL. The second track is the 1080p residual difference between the HDR10 base layer and the 12-bit Dolby Vision master. While there are no 12-bit consumer displays on the market, it is my understanding that the decoded residual information can still improve the chroma subsampling from 4:2:0 to 4:2:2 and theoretically allow for smoother color gradients on a 10-bit panel, though I've read conflicting reports on this point.
I have read anecdotal reports elsewhere that the HDR10 base layers of Dolby Vision FEL releases sometimes show artifcating that is mitigated when the second video track is properly decoded. I have a new network player on order that is reportedly capable of proper FEL decoding, and I plan to revisit this release after I receive the new player. If I see a difference, I'll report back. This should not be issue for those who use Dolby Vision-licensed disc players for Dolby Vision playback, as their chipsets should properly decode the second video track. It may be an issue if your player/tv only supports HDR10, but none of this is definitive and should all be taken as hypothesis at this juncture.
Finally, it bears repeating, this remains one of the best westerns, spaghetti or otherwise, ever made. It's a masterclass in visual storytelling and also features some of the best sound design and scoring of all time.
I finally watched this release last night. My thoughts:
The master is incredible, and the release is by far the best I’ve ever seen the film look. I also think it looks better than Kino's releases of the Dollars Trilogy, mostly due to the color grading. I disagree with reviews suggesting that the film has been completely de-grained. RAH’s comments that the disc has the softer, more velvety texture of a blow-up print are on-point.
Most of the time, the encode looked fine from my seating distance (~7.5 feet from a 65” display). I occasionally noticed some digital crunchiness in smoke, the bokeh of close-ups, and, most frequently, in the sky gradients. I probably would not have noticed it unless this thread and Bill Hunt's review had primed me to look for it. I’m not totally willing to blame insufficient bitrate, either. Right after OuaTitW, I put on Criterion’s UHD of Days of Heaven. That release is encoded at almost 80+ mbps, and I observed similar issues.
I should note that my playback device does not fully support Dolby Vision. I rip my discs to a Plex server, and I play them back with a Dune HD network media player. The Dune player only decodes the HDR10 base layer and the Dolby Vision dynamic tone mapping metadata (RPU); it does not decode the second video track in the FEL. The second track is the 1080p residual difference between the HDR10 base layer and the 12-bit Dolby Vision master. While there are no 12-bit consumer displays on the market, it is my understanding that the decoded residual information can still improve the chroma subsampling from 4:2:0 to 4:2:2 and theoretically allow for smoother color gradients on a 10-bit panel, though I've read conflicting reports on this point.
I have read anecdotal reports elsewhere that the HDR10 base layers of Dolby Vision FEL releases sometimes show artifcating that is mitigated when the second video track is properly decoded. I have a new network player on order that is reportedly capable of proper FEL decoding, and I plan to revisit this release after I receive the new player. If I see a difference, I'll report back. This should not be issue for those who use Dolby Vision-licensed disc players for Dolby Vision playback, as their chipsets should properly decode the second video track. It may be an issue if your player/tv only supports HDR10, but none of this is definitive and should all be taken as hypothesis at this juncture.
Finally, it bears repeating, this remains one of the best westerns, spaghetti or otherwise, ever made. It's a masterclass in visual storytelling and also features some of the best sound design and scoring of all time.
Sometime, somehow, somewhere, you need to find a screening of an original dye transfer print shown on a large screen, and take it all in. It's an extraordinary experience.Enjoyed reading this, Kyle.
And it does bear repeating that this is one of the best westerns ever made. I never tire of watching it and do so at least once every year.
It's amazing to me, I never heard of this film until I saw Bill Hunt raving about it before its initial DVD release. I bought it in that format blindly and it instantly became one of my favorite films of all time. And with every watch, I am reminded of what a masterpiece this film is.
Just don't say, "My work here is done."
Not necessarily.
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I would love to see Paramount follow up the release of OUATITW with another title that I believe most consider to be one of the greatest westerns ever made. Of course, as hinted by the photo, I am talking about LITTLE BIG MAN.
From my best recollection, Paramount was very quick to get this out on Blu-ray in the early days of the format. For that reason, I think they were aware of the film's popularity. I don't know what 4k can do to improve upon the Blu-ray release, but I would have to think that this film came up as a candidate at some point for 4k consideration.
EDIT: Just watched the first 5 minutes of the film, intending to watch it all, but got interrupted. I can immediately see that this film needs work done on it.
Not necessarily.
Reminder. You’re looking at a video.From what I could see from the first five minutes, it needs to a little cleaning up. Haven't gotten around to seeing much more than that today. Plan to watch it in full tomorrow.
Those will be the only versions left after the (EMP) Blackout...The problem here is not Paramount‘s doing
This is the version of the film they released and own.
Could one go to Rome, sift through the history, the continuities and hundreds of cans to attempt to find the true god?
I don’t know. But if someone attempted to do so, it would not be an inexpensive project, as our domestic tracks also sync to a specific version.
Been there.
Done that.
Just a heads-up for people thinking that another encode from the same master could make a difference for this title:
The German UHD has an official release date for this week. It is a triple layer release by Universal and it should be interesting to see if there are any differences when this gets released.
As it already got a review that explicitly mentions film grain reduction being both visible and detrimental to texture and fine detail on a 65" OLED I would not expect much from it:
So most of what can(not) be seen on the US release is probably already baked into the master.