What a motion picture!

Not to mention the day-for-night (I refrained from doing any exposure correction - orthochromatic day-for-night ought not to be fought against!).

Some real benefits in terms of montage and geographic/spatial legibility here. Assigning colors to specific spaces does wonders for parallel structure...

Oh! The trailer has tinted stuff! Terrific.

Oh interesting - the screenshots on the OWHY page are all untinted. Which page is this from?

From my own bootleg release... it's terrific! Can't wait for my amateur crap to become obsolete.

Worth remembering that "HDR" in terms of photo editing and HDR color encoding are two different things. Confounding!!

This or The Big Lebowski!

Indeed! We're becoming the 180g half-speed vinyl niche of the film world.

bsky.app/profile/dags...

I know very little about Agfa CP20 (for which EWS is the only film I've seen that was printed on), so my usual instincts about Kodak print film stocks are of little use here, sadly.

A lot has improved on the whole (grain has never been better-represented, and oversharpening is far less prevalent), but there are new issues such as AI upscaling/denoising, etc that've begun to rear their heads. It's an ever-moving battlefield.

...teal-and-orange slathered on, et cetera. The HDR era is prone to massive overuse of the increased brightness ceiling of HDR ("light cannon"), adjustments to bring things in line with expectations of today's trendy palettes (split-toning among others), a different type of oversaturation, etc.

It's a lot of factors. Any given era's releases will oftentimes fall victim to trends of the moment and various case-by-case revisions, but revisionism has always been with us.

DVD and BD-era releases oftentimes had asleep-at-the-wheel white balance, oversharpening, DNR, oversaturation...

Yeah, I can't trust my memory on this one - last print I saw was ~2021-22 ish.

Per aspect ratio: we're pretty sure Kubrick's primary framing for the film (as with all his stuff starting with The Shining) is 1.85:1, though be of course protected for 1.66 and 1.33.

Interesting data point: a number of the newer scenes that appear green in comparison to the old transfer are just normally white-balanced now - a fair amount of the old stuff is notably magenta.

(This is your biannual reminder that just because a digital home release has been around for ages doesn't make it accurate.)

My recollection of the two 35mm prints I've seen were that the blues skewed *more* teal than the digital versions thus far, but of course it's not possible to tell exactly how far. I'd be curious.

Waiting for the /r/criterion "why is it so grainy now" takes.