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4K83 - Released — Page 13


Thanks, that’s good info and perspective there. I’ve always liked the home video (laserdisc rips) look, but I’m also open to warmer or more film-like ones. Also looking at changelogs and posts I saw it mentioned that 1.3 has less good DNR than 1.4 and up, since they started doing more fine tuned scene to scene profiles or something like that. Also 1.4 may be growing on me a bit, and I read that DrDre is working on a new update too.

It is wild how many choices we have now, and involves researching, but it’s fun and cool to have all these for sure.


GroovyLord said:

Can you say what it is you don’t like about 1.3’s colors in particular?

And definitely food for thought on the pro calibration thing, but I don’t have an uncalibrated TV with those eye-blinding default settings or anything. Just mentioned my color temperature setting since I have an older TV with only three settings for that. And while for sure the more versed people in the scene like yourself who do editing will need that more so, I think many fans such as myself will just compare the screens of a few versions or pop on a couple and find what they like, when comparing. Even though almost everybody in this hobby’s monitor and TV settings will be different, there is still a noticeable enough difference between the versions that people can still kind of have a discussion and know what eachother mean anyway.

And I wasn’t asking for recommendations for a version to watch, since I know I prefer 1.3, so my calibration there wouldn’t affect what I’m asking. I was just curious why you good posters here didn’t like it as much as 1.4 and 1.6. If there is anything notable that it does that was fixed in other versions, since many seem to agree are improvements over 1.3. And with all three being so noticeably different from eachother, it makes me even more curious how people compare and rank them in their preferences. Thanks.

1.3 is the best forever. Don´t worry, it´s perfect.


I managed to get hold of 4k83 1.0 (pre-Sanjuro color grade). I had been watching 1.3 before and I like it but when it comes to 4k77 I prefer 1.0 colors over Sanjuros. A New Hope was shot in Technicolor and I feel Sanjuro’s grade doesn’t quite improve on it. Technicolor is/was notoriously beautiful after all. I do, however, understand that an SDR color gamut cannot produce the full range of Technicolor so color grading is necessary to a certain extent. To my knowledge, Technicolor prints do not fade so in the case of 4k77 there was much less color grading to do for 1.0 as opposed to 4k83. My questions are, would 4k83 1.0 be technically more accurate than 1.1 and beyond that have Sanjuro’s color grade? What was the reference for 1.0 grading? And what are your personal opinions if you have seen both?


The v2 release of 4K83 was released earlier this month.

From the “Release Notes” on Myspleen:

'v2.0 - A complete redo.

This version is a complete redo of the project. Nothing is reused from v1.x except the
audio. This version is one colour correction across all seven reels with one small
deviation during the Sarlacc scene. This preserves the film as a whole. Read below.

The reason to redo it is because the previous versions have issues that can’t be fixed.
The main problem goes back to how v1.0 was created. The raw capture was in cinemaDNG
format. What I didn’t know at the time was it’s in a different colour space than what I
was working in. I manually changed colour space to RGB instead of doing a proper colour
space conversion. This caused issues. Also at the time, becasue of the colour space issue
and my limited experience, I couldn’t figure out one red fade correction that worked
across all seven reels so each reel was corrected individually.

In v2.0 I do a proper colour space conversion first. I then did a single colour correction
across all seven reels. The Sarlacc scene lacked contrast and saturation so I altered the
saturation in the highlights giving the sky more blue which improved the image greatly.
Only the highlights of the scene were altered from that single film grade. By using a
single colour correction I am preserving the film as a whole. This limits my “creative
license” and restricts the grade to keep it more inline with how it would have been in
1983. There is no definitive grade to use as a reference as every official version is
different so I tried to find the best balance I could.

The cleanup is less refined than the previous versions. In v1.x I cleaned all dirt I saw.
In v2.0 I am preserving the dirt that is in the original negative. This dirt you would
have seen in the theatre in 1983. It’s a more authentic experience this way. The dirt is
only really present in the optical FX shots. Non FX shots are about as clean as the
previous versions. This version preserves the ugly glue stains that are in the print and
would have been seen in the theatres in 1983. Glue stains are at some edit points.

In regards to stabilization, I have not used warp stabilizer in any shots and nothing is
“locked” so there should be some amount of gate weave in every shot. In most shots
it’s minimal and wont distract from the viewing experience.

The first audio track is the RAW audio captured from this 35mm print without any post
processing. This preserves the audio as it would have been heard in the theatre compete
with audio dropouts as they would have been heard then. It’s a more authentic experience.

No DNR or sharpening has been applied. The RAW capture has some chroma noise from the
camera used. It has not been removed. The chroma noise is only noticeable if you zoom into
the image anyway so it should not be seen during normal viewing.

All this should provide a more authentic 1983 viewing and listening experience which was
the intention of the original project.

The main project is being rendered at 1080p and 2160p (SDR). This version is cropped as
it would have been seen in the theatre. The SMPTE crop is the official crop and at 2.39:1.

I am also rendering a Full Frame version as I did for v1.1. This shows the entire 35mm
film frame. This shows the parts of the frame you were never ment to see. This version is
a bit distracting to watch and only recommended for “film nerds”. You will see more of the
glue stains and other issues around the frame that are always cropped off. Full Frame
version is 2K (2048x1080). This would allow someone to crop the image
and still have approximately 1080p resolution left over.

These are the final media files as follows:



Info from previous versions that still applies.

99.9% of all frames used in this project are sourced from one original 1983 35mm
Eastman print. The remaining 175 frames were sourced from an alternate 35mm print.
All frames were scanned, cleaned, stabilized, and color corrected in 4k (anamorphic)
from 35mm prints. The primary print used is NOT a release print but a special screening
print struck directly from the original film negative in 1983. It is presented with
it’s original film grain intact which is two generations less than what a theatrical
release print would have and only one generation from the original negative.

This project is not GOUT-synced. The GOUT version of this film is missing two
frames that were seen in theatres. This project presents those two original theatrical
frames for film and historical accuracy. Muxing in alternate GOUT synced audio to
this project will slightly alter the audio sync by two frames. Most people won’t notice
a two frame shift in audio sync. The two extra frames are located at time 00:47:41.

Additional information about the project can be found here:


There is a 1080p HD option, and a 2160p UHD option for this v2 release.


chroma sounds like a bad star wars character

around the survivors a perimeter create


ShotByT-16 said:

A New Hope was shot in Technicolor … Technicolor is/was notoriously beautiful after all.

Can you guys imagine if Star Wars was actually filmed with Technicolor cameras like the Wizard of Oz? What a trip that would be.

There was a time before Kodak when all color was Technicolor. Even films shot on Kodak had Technicolor prints, dwindling to an occasional thing as color film improved, yet the practice persisted til the early 21st century. To be honest I’m not even sure if I ever saw a dye print in the 80s/90s. Sorry this is going off topic.

But I didn’t know 4k83 was from a 2nd gen copy… so the point of an interposotive is to have better control of colors, and then the internegs and release positives don’t need color correction? I guess the 4k83 print is basically the same as an interpositive? For exhibition I’ve only heard of that for 70mm blowups but not straight 35mm copies. There must be a greater discussion of this print somewhere–in this thread or the other forum?



Thanks for the release notes, Marooned Biker Scout. I’d like it if all future releases of the 4K trilogy had something like this in either of the forums because I enjoy knowing the details of what has gone into a project such as this.


it’s a gorgeous looking print, once 4k80 and 4k77 v2 are out I hope someone tackles these preservations to prep a tv/oled friendly version. I know a lot of people love the projection/theater look but you clean these up and it could be a perfect 4k uhd theatrical cut of the star wars trilogy which…is pretty mindblowing to even think about. honestly for the most part this looked fantastic I just wish there was those inky blacks I’m used to on my lg cx.

around the survivors a perimeter create