Harmy said:

So, if someone could help me with the proper HDR workflow, it would be appreciated. I don’t even really want to make the final result 4K HDR - I’d like the result to be a regular BD, as I feel like this way the sources will match better and there shouldn’t be a significant loss in quality anyway but would like to source the HDR BDs to use the better dynamic range for color-grading.

bttfbrasilfan said:

44rh1n said:

Hey Harmy, thanks for the update. Love your work. Here are my two cents. You’ll definitely be able to do more with the new UHD rips than the new HD rips, because of the wide color gamut and 10-bit color. Even if your final delivery is in SDR, having the HDR version as a source will give you more details to pull from, especially in the shadows. Essentially, you can use it the same way you’d use Log camera footage. It will need to be graded though, otherwise it will look very flat. The other alternative would be to use the UHD source tonemapped to SDR, but in my opinion a tonemapped version would serve as an inferior source because you wouldn’t have that wide color gamut to work with anymore.

You can bring HDR footage into DaVinci Resolve and export it as ProRes (or TIFF/EXR/DPX, although those are overkill IMO), without tonemapping, and then that would serve as your best source for creating an SDR restoration with a custom grade. Resolve doesn’t handle MKV-wrappped files though, so you’d first need to rewrap an HEVC MKV remux to HEVC MP4 with ffmpeg (I recommend the GUI called Hybrid). I’d be happy to walk you through how to do any of this if you’d like. (Or I could do it myself and send the files to you, if someone can provide the BD UHD remuxes).

Just feel free to DM me if you want me to walk you through anything! Working with HDR footage is pretty simple once you wrap your head around it. 😃

Could you, please, make a tutorial on how to grade and export(in SDR) HDR Blu-rays or general video/media files in Resolve? Or at least point the way?

Hey Harmy, oohteedee, bttfbrasilfan, Chewielewis, and anyone else who’s interested – I just published my guide for how to work with 4K HDR Blu-ray Rips in SDR. Hope it helps. https://originaltrilogy.com/post/id/1340983/action/topic#1340983

Guide for Working with 4K HDR Blu-ray Rips in SDR

HDR footage is nothing new. We’ve been using it for well over a decade in SDR workflows, despite HDR delivery being relatively new. Think of Arri Log C, RED RWG/Log3G10, Sony S-log, or Panasonic V-log. These are all HDR color spaces that we’ve been grading inside of SDR environments for a very long time. So treating the HDR footage from a UHD disc is a very similar process. Here’s how to get your UHD Blu-ray discs to a point where you can properly add custom grades to them.

•Create a remux from your UHD disc, using MakeMKV. This will copy the entire HDR film into an MKV wrapper without transcoding. (There are lots of guides for this online already, so I won’t go through that here).

In my example, I’m using a 4K HDR remux of X-Men: Apocalypse (Sorry, I haven’t bought my Star Wars OT in 4K yet).

•If you have DaVinci Resolve Studio (the paid version of Resolve), keep reading. But if you only have the free version of DaVinci Resolve (the non-studio version), skip down to the “UPDATE 06/03/2020” section below.

•Use Hybrid (FFmpeg GUI) to rewrap the MKV file to MP4 (Not transcode. We want to preserve the original HEVC file). The reason we need our 4K HDR HEVC file to exist within an MP4 wrapper is so DaVinci Resolve can import it. To do this, set your Video setting in Hybrid to “passthrough” and ensure the container is set to “mp4.” Audio can be set to “ignore,” since we don’t need audio for this. Once you’re done, set your output folder and file name, and add it to the queue.

•In Hybrid, go to the “Jobs” tab, and hit the “Start” button to start processing your queue.

Once it’s done, you will have your original HEVC file, now as an MP4.

•Import the MP4 HEVC file into DaVinci Resolve Studio’s media pool, on the Media page. (Note: the free version of Resolve does not support importing HDR HEVC files, so this must be done in Resolve Studio. If you only have access to the free version, don’t worry! Skip down to the the “UPDATE 06/03/2020” section below)

•Ensure that the Resolve color management settings are set to the default: DaVinci YRGB, with timeline color space set to Rec. 709 Gamma 2.4.

•Make sure your project resolution and framerate are set to 4K UHD (3840x2160), 23.976fps.

•On the Edit page, pull the new MP4 file into a new timeline. It will look flat and ugly, with a slight green shift. This is what we want. We don’t want a tonemapped version. We want this log, flat, ugly version. This means it’s the HDR source. (Also, please note that the file will be a bit sluggish in Resolve because HEVC is a high-compression delivery codec and not really intended for editing/grading).

•On the delivery page, prepare a ProRes 422 HQ export of the film, in full resolution 3840x2160. (You may use ProRes 4444 if preferred, although it will use more storage space. ProRes 422 HQ is still 10bit, so it should suffice and save you a bit of storage). Once you’ve prepared the ProRes export, set an output location and add it to the render queue. Then on the render queue, hit “Start Render.”

This will give you the full 10-bit, wide gamut footage, without any of the HDR metadata. And since it’s ProRes (an intermediate codec intended for editing and grading), it will run much faster and be much less taxing on your CPU/GPU than the original HEVC version. The file size will be relatively large — approximately 220 GB / hour. You may think this is excessive, but that’s the price you have to pay to use proper intermediate codecs! (Using proper codecs will save you much time and frustration).

Note: If you’re on a Windows PC then you unfortunately won’t have the ProRes encoding options. You may use DNxHR HQX instead. It’s a fine alternative to ProRes HQ, although it is a bit more sluggish. Or you may also use any of your preferred image sequence formats: EXR, DPX, TIFF, etc. (although, in my opinion, those produce unnecessarily large file sizes, especially for footage sourced from HEVC).

UPDATE 06/03/2020 - If you only have the free version of DaVinci Resolve and not the paid Studio version, then you can convert to ProRes straight inside of FFmpeg (or the Hybrid FFmpeg GUI). Afterwards, you may follow the rest of this guide using the free version of Resolve. Below are some settings you can use in Hybrid. Or forum user oohteedee has kindly provided the command line for this in the comments below, if you prefer command line).

Once your ProRes export is complete, you now have your film ready to be graded and used in your fan restoration! This new ProRes clip is what you will now import into Resolve (or any other software) and use from now on.

The next step is knowing how to use this HDR footage and make it look pretty. Here’s one simple way to get a starting point in your color grade, using a Color Space Transform (CST) node in Resolve:

•Open your OpenFX palette and drag the “Color Space Transform” effect onto a new node.

•Set the Input Color Space to Rec.2020 and the Input Gamma to ST2084.
•Set the Output Color Space to Rec.709 and the Output Gamma to Gamma 2.4.
•Change Tone Mapping Method to Luminance Mapping, and Gamut Mapping to Saturation Mapping.

Now we have properly converted the color space from Rec.2020 to Rec.709, with tone mapping. This won’t look perfect, because every film is graded differently. It’s simply a color space conversion. But you’re now in the correct color space for SDR, and it should provide you with a really great starting point. You may add a node before or after the CST node, and tweak it to taste, using Lift/Gamma/Gain, YRGB Curves, and Contrast/Pivot/Hue/Saturation.

In my case, I added a node before the CST, and brought down the gamma/midtones as well as brought the temperature slightly cooler, and now it feels a bit more balanced.

If Resolve isn’t your preferred grading application, you may export your custom CST/grade as a Lookup Table (LUT) and bring it into any other software to use as a starting point for your grading. Here’s how:

•Right-click on a clip that has your CST/grade applied to it.
•Click “Generate 3D LUT (33 Point Cube).”
•Choose a directory where you want to export the LUT.

You can now use the .cube LUT file in any supported application.

You don’t need to grade the HDR footage with a CST like this; it’s just one way to get a quick starting point. You can do 100% custom grading on your HDR footage instead, if preferred. But I think this is a quick and effective way to get in the right ballpark.

I went ahead and created a LUT out of this, in case anyone wants it for their non-Resolve software applications. Just note that, in terms of grading hierarchy, you’ll want to make any large color adjustments in a layer/node before the LUT. There are two flavors of the LUT – one with just the default CST, and one with the CST + a few custom adjustments. Feel free to download them here.

And that’s it. Hope this helps.

-44

NeverarGreat said:

Harmy said:

I am now in contact with oohteedee and we’re talking about collaborating on v3.0 using his D+xy versions as a basis and despecializing them further.

I have said before that now that we have 4K77 and 4K83 as 100% true theatrical preservstions (with 4K80 hopefully coming soon) the focus of Despecialized can shift to being what a modern transfer of the movie, if the SE never existed, could be. This is why I don’t think power-windows, not 100% theatrically accurate grading or redone wipes and such are really a problem.

Color grading and recomposited wipes are a given for a modern transfer based on the original negatives, but power windows to differentiate foreground/background elements for 3D feels noticeably different, at least based on none’s comparisons.

I wouldn’t be too torn up if they appeared in 3.0, but it seems a shame. Is there any idea how many of these power windows exist in the OT?

If Disney ever put out a “restoration” of the theatrical versions, it would have a polished color grade, including power windows. That’s standard for new 4K remasters of old films. So if Harmy can at least put out a theatrical version that’s of the same caliber to what a studio would put out, then that’s pretty great. I believe that’s all Harmy is trying to say here.

And then I think he’s also saying that if you’re looking for a true theatrical experience, with all the analogue “issues” that come with that, then the 4K77 version is what he recommends.

Basically, it seems like the 4K77 scans have sort of replaced the despecialized editions in terms of mimicking the original 1977 theatrical experience, whereas despecialized has pivoted towards having a clean, modern transfer of the theatrical cuts. And I think that’s pretty cool. It’s great to have both options.

bttfbrasilfan said:
Could you, please, make a tutorial on how to grade and export(in SDR) HDR Blu-rays or general video/media files in Resolve? Or at least point the way?

Sure. I’ll write up a full guide later today after work.

Dek Rollins said:

Is it wise to use the UHD as the primary source for Despecialized, considering the use of Power Windows?

In my opinion it’s a non-issue. The UHD is still the cleanest source (even though it’s DNR’d) and Power Windows can easily be undone in the grade, if necessary. The 2011 Blu-ray had Power Windows in the grade too.

Hey Harmy, thanks for the update. Love your work. Here are my two cents. You’ll definitely be able to do more with the new UHD rips than the new HD rips, because of the wide color gamut and 10-bit color. Even if your final delivery is in SDR, having the HDR version as a source will give you more details to pull from, especially in the shadows. Essentially, you can use it the same way you’d use Log camera footage. It will need to be graded though, otherwise it will look very flat. The other alternative would be to use the UHD source tonemapped to SDR, but in my opinion a tonemapped version would serve as an inferior source because you wouldn’t have that wide color gamut to work with anymore.

You can bring HDR footage into DaVinci Resolve and export it as ProRes (or TIFF/EXR/DPX, although those are overkill IMO), without tonemapping, and then that would serve as your best source for creating an SDR restoration with a custom grade. Resolve doesn’t handle MKV-wrappped files though, so you’d first need to rewrap an HEVC MKV remux to HEVC MP4 with ffmpeg (I recommend the GUI called Hybrid). I’d be happy to walk you through how to do any of this if you’d like. (Or I could do it myself and send the files to you, if someone can provide the BD UHD remuxes).

Just feel free to DM me if you want me to walk you through anything! Working with HDR footage is pretty simple once you wrap your head around it. 😃

Plum said:

44rh1n said:
Right now the versions on Amazon, iTunes, Vudu, Movies Anywhere, etc. are from the same master as the Blu-ray. So they all have the same color issues. Hopefully when the 4K version comes out later this year (fingers crossed it’s still happening this Summer!), they restore the colors to their proper hues. Hopefully. And if that’s the case, the Digital HD versions will likely get upgraded as well. But yeah, right now they all have the gross green color grade. The theatrical version has the original, beautiful color grade across all streaming services though, as does the extended edition on DVD.

Thanks. Shame that there isn’t a official ‘definitive’ options for the Extended Editions right now. They’re classics and people deserve to be able to see them in their best light.

Luckily The Two Towers and The Return of the King aren’t affected, and the official Blu-rays of those films both look amazing. So this restoration of Fellowship should more or less fill the gap.

Plum said:

Hey! Joined the site primarily due to the excellent work done here. The LotR trilogy is one of my favourites by far and it honestly saddens me that there wasn’t a guaranteed ‘best’ way to watch the extended editions of these. This definitely looks to be the answer to that, and I hope that they take some cues from it for the eventual (maybe) 4K releases.

I was wondering, are there any differences between the Extended Blu-Rays and the copies found for purchase digitally via sites like Amazon and iTunes? I’ve done a fair amount of searching for an answer yet I’ve not really found one, so this seems like a decent place to ask 😃

Right now the versions on Amazon, iTunes, Vudu, Movies Anywhere, etc. are from the same master as the Blu-ray. So they all have the same color issues. Hopefully when the 4K version comes out later this year (fingers crossed it’s still happening this Summer!), they restore the colors to their proper hues. Hopefully. And if that’s the case, the Digital HD versions will likely get upgraded as well. But yeah, right now they all have the gross green color grade. The theatrical version has the original, beautiful color grade across all streaming services though, as does the extended edition on DVD.

TK-423 said:

Is the bluray source still the latest version, was there ever an update made with the Netflix WEB-DL?

There is no decent Netflix WEB-DL yet as far as I’m aware. If you can find one, let me know. But right now the only ones available are way too low bitrate.

captainsolo said:

I’m skipping this Maclunkey box. It’s likely the D+ versions on disc plus faux 4K discs for the others all in a box full of more maclunkey to try and entice fans to buy. I’m sure they’ll sell some for the holidays and such but yet again it’s a wasted opportunity.

Who knows they may even redo the sound again and make it even worse!

Yup. But the day they include the theatrical versions in 4K (or even HD for that matter) on a bonus disc, it’s an immediate buy for me. Your move, Disney. Do you want our money or not?

Fang Zei said:

I don’t think any further changes from the 2011 versions were spotted in the D+ versions, were there?

Only color grading changes, I believe. I think the cuts themselves are the same as the Blu-ray for the prequel trilogy.

Ronster said:

I remember we talked about if Disney were to release a box set they could include the Star Tours Ride footage restored… How many of us went on that I know I did and that would be a nice connection between Disney and Star Wars.

Oh I would buy that!

teamneedle said:

I didn’t see this mentioned on here yet… The theatrical edition of Fellowship was on Netflix last year and it did not have the green tint - Hopefully this is a sign that a new master is out there.

The theatrical version has never had the green tint. It was only ever on the extended HD release. But I agree —- here’s hoping the 4K release this year will fix the problems!

44rh1n said:

ChainsawAsh said:

44rh1n said:

Very interesting! Charles Bunnag, one of the colorists of the new 4K HDR Disney+ version of the Original Trilogy, as well as “The Mandalorian,” has spoken regarding the negative claims that the Disney+ HDR is “fake.” There’s even an interesting comment from Marc Wielage (colorist of the 2004 versions). https://mixinglight.com/color-tutorial/is-the-disney-series-the-mandalorian-fake-hdr/

The podcast in the link there is very interesting, I recommend everyone who’s interested in HDR give it a listen.

Yeah, it’s a great one. I loved it too. I’m actually a subscriber to MixingLight, because their insights are incredibly helpful with my work. They had another podcast a couple of years ago talking with the colorist of the 2004 SE, and in that podcast the colorist actually talks about it being a myth that Lucasfilm doesn’t have the theatrical OT negatives or prints anymore, because he actually used them in his restoration. I went back and tried to find it, and the listing for that podcast is still there but the link is broken. I’ll reach out to them and see if they can fix it. It’s a great listen.

If anyone was interested in this interview I referenced earlier with the colorist of the 2004 SE, it’s back online now. It’s very interesting to view restoration, in general, from his perspective. The whole podcast is great, but about 33:27 is when he starts to talk about Star Wars. https://mixinglight.com/color-tutorial/color-restoration-hollywood-interview-marc-wielage/

CatBus said:

Stotchy said:

CatBus said:

three of which I can handle like my existing official Blu-rays: glue them all together, put a string through the middle, and suspend them inside one of the cavities in the walls of my house, so nobody accidentally watches them or stumbles across them and thinks that I like those films enough to buy them

This is really funny.

That is seriously what I did with the 2011SE’s. You glue the shiny sides together so it’s really clear what’s on the disks. Star Wars and Empire on the sides, Jedi in the middle, a little offcenter so that you can see some of its cover too. They’re currently hanging inside the wall cavity of my youngest child’s bedroom closet.

I just put mine in a drawer lol wtf

ChainsawAsh said:

44rh1n said:

Very interesting! Charles Bunnag, one of the colorists of the new 4K HDR Disney+ version of the Original Trilogy, as well as “The Mandalorian,” has spoken regarding the negative claims that the Disney+ HDR is “fake.” There’s even an interesting comment from Marc Wielage (colorist of the 2004 versions). https://mixinglight.com/color-tutorial/is-the-disney-series-the-mandalorian-fake-hdr/

The podcast in the link there is very interesting, I recommend everyone who’s interested in HDR give it a listen.

Yeah, it’s a great one. I loved it too. I’m actually a subscriber to MixingLight, because their insights are incredibly helpful with my work. They had another podcast a couple of years ago talking with the colorist of the 2004 SE, and in that podcast the colorist actually talks about it being a myth that Lucasfilm doesn’t have the theatrical OT negatives or prints anymore, because he actually used them in his restoration. I went back and tried to find it, and the listing for that podcast is still there but the link is broken. I’ll reach out to them and see if they can fix it. It’s a great listen.

doubleofive said:

My friend at the Saga Marathon says they’re all the 2K versions. They didn’t make DCP of the Disney+ versions.

Yeah, this is dumb and doesn’t make any sense at all. Making DCPs is super easy and they should have been made at the same time as the IMFs for Disney+.

Very interesting! Charles Bunnag, one of the colorists of the new 4K HDR Disney+ version of the Original Trilogy, as well as “The Mandalorian,” has spoken regarding the negative claims that the Disney+ HDR is “fake.” There’s even an interesting comment from Marc Wielage (colorist of the 2004 versions). https://mixinglight.com/color-tutorial/is-the-disney-series-the-mandalorian-fake-hdr/

DrDre said:

Fang Zei said:

DrDre said:

Jedi Master Skywalker said:

https://twitter.com/nowthisnews/status/1204960815821946880?s=21

JJ is on our sides

That’s good to hear, and I respect him for being open about his views in this matter, but he sadly also confirms the OOT will not be released for reasons even he doesn’t understand.

As far as he knows.

This is pretty major imo. We have the director of 2/3 of the ST saying on camera in a sit-down interview that he doesn’t understand why the unaltered versions haven’t been restored to modern quality. The most we’d gotten from him prior was casually mentioning he’d shown his kids the original versions in a written interview several years ago (whether this was the GOUT or Harmy is unclear).

Rian hasn’t brought up the subject at all to my knowledge since he was hired by LFL back in 2014, although he did jokingly refer to the SE as “the cartoon version” on twitter the week the bd’s came out back in 2011.

I think, it goes a little bit beyond, as far as he knows. He literally states, he asked about the OOT, and was told a release wasn’t possible. So, I think it’s almost certain the OOT will not be included in the physical release of the 4K versions next year. In this respect it’s also important to note, that the new 4K master was done under the supervision of Lucas before the sale of LFM, making it even less likely the OOT will be restored, as this will be an archive release, not a new restoration by Disney. The release of the OOT is becoming less likely with every year that passes, and with physical media becoming extinct, next year will likely be the last opportunity for such a release, as the SE will forever remain the available versions on streaming services. I just don’t see it happening next year, and so I don’t see it happening at all, sadly.

Well, we know this isn’t entirely true, since these new 4K versions were clearly mastered after Disney’s Lucasfilm acquisition. They include the revised Lucasfilm logo that Disney created in 2015, and they were given the Dolby Vision HDR treatment by the same Company 3 colorists who did The Mandalorian. Dolby Vision didn’t even exist until around 2015.

I think you’re probably right that the foundation of this 4K version existed back before Disney’s acquisition, and was completed under George’s supervision. But I’m afraid your assumption — that the entire master as a whole was completed before then — is simply not true. In fact, looking at the evidence, I would wager that in its current, completed form, this new 4K version was completed this year.

CHEWBAKAspelledwrong said:

Fang Zei said:

DrDre said:

Fang Zei said:

DrDre said:

Jedi Master Skywalker said:

https://twitter.com/nowthisnews/status/1204960815821946880?s=21

JJ is on our sides

That’s good to hear, and I respect him for being open about his views in this matter, but he sadly also confirms the OOT will not be released for reasons even he doesn’t understand.

As far as he knows.

This is pretty major imo. We have the director of 2/3 of the ST saying on camera in a sit-down interview that he doesn’t understand why the unaltered versions haven’t been restored to modern quality. The most we’d gotten from him prior was casually mentioning he’d shown his kids the original versions in a written interview several years ago (whether this was the GOUT or Harmy is unclear).

Rian hasn’t brought up the subject at all to my knowledge since he was hired by LFL back in 2014, although he did jokingly refer to the SE as “the cartoon version” on twitter the week the bd’s came out back in 2011.

I think, it goes a little bit beyond, as far as he knows. He literally states, he asked about the OOT, and was told a release wasn’t possible. So, I think it’s almost certain the OOT will not be included in the physical release of the 4K versions next year. In this respect it’s also important to note, that the new 4K master was done under the supervision of Lucas before the sale of LFM, making it even less likely the OOT will be restored, as this will be an archive release, not a new restoration by Disney. The release of the OOT is becoming less likely with every year that passes, and with physical media becoming extinct, next year will likely be the last opportunity for such a release, as the SE will forever remain the available versions on streaming services. I just don’t see it happening next year, and so I don’t see it happening at all, sadly.

Those are all valid points, but I’d say the physical 4k release will sell in significantly higher numbers if an unaltered restoration is included, especially since anyone with a D+ subscription can now stream the 4k hdr SE anytime they’d like.

Except that contradicts the nearly concrete evidence Abrams just gave us it ain’t happening.

I admire your optimism on the matter, but at this point you need to lower your expectations, sadly.

I don’t know. JJ is known for telling white lies in interviews, just to expand hype. And interviews like this are often planned in advance. I wouldn’t be surprised if it was all set up, just to get people talking about the theatrical trilogy again, and to increase everyone’s surprise when it inevitably gets released.

The best way to watch Dolby Vision content from Disney+ as closely to the creators’ intent as possible is to purchase the flagship LG C9 OLED, and then use the “CalMAN Home” software, along with a supported spectrometer, to calibrate the TV. This is a great guide, for anyone who’s interested in doing it. It’s a few bucks, but it’s worth it for those of us who crave absolute color accuracy. https://youtu.be/q5q_R5M--m8

joefavs said:

While I was home for Thanksgiving I looked at some of ANH on the TV at my parents’ house, which is set up very well but only does HDR10 and not DolbyVision, And it was really dull-looking and dark and just all around underwhelming. It’s strange how drastic the difference was with the DolbyVision set in my apartment; there are plenty of other movies I’ve watched on both TVs and I’ve never experienced a drop-off in quality this extreme.

Dolby Vision is vastly superior because it includes HDR trim metadata for each individual shot of a movie, manually tone-mapped by the colorists to accommodate a wide variety of television conditions. Basically, there are several versions of the film, each optimized for a specific style of TV. So the creator’s intent is preserved as closely as possible, no matter the brightness range (or limitations) of your supported HDR TV.

Whereas, HDR10 includes just a single HDR master of the film. There’s no trim metadata, and therefore no preservation of the creator’s intent across various viewing environments. With HDR10, it’s up to the television manufacturer to tone-map the HDR master to fit their TVs’ color reproduction capabilities. So as a result, HDR10 looks wildly different on every single TV. It’s a total disaster. But if you have a really high end TV, then HDR10 should in theory look pretty good. (However, if you have a high end TV, you’re probably just using Dolby Vision instead anyway).

Yeah, I agree that overall the new versions are vastly superior to the Blu-rays. There might be a few issues still here and there, but overall the color is really great. Just make sure, if you’re watching the films in HDR, that you’re watching them in Dolby Vision instead of HDR10 (HDR10 is trash, and will screw with the colors). Or if you’re watching tone-mapped SDR versions, ensure that they’re properly tone-mapped (otherwise you’ll get the incorrect color shifts as illustrated in some of the stills above).

The Anakin force ghost seems to be redone as well. The composite actually seems more noticeable to me. The 04/11 composite was cleaner. (Or maybe it’s the change in color grading that’s throwing off the composite). Either way, it looks a bit more odd than before.

Broom Kid said:

I might be seeing things - but I think they re-did the shirt coloration “fix” (which was never a fix) on Han Solo just before carbon freeze?

Here’s the screencap from the blu-rays
https://i0.wp.com/caps.pictures/198/0-starwars5/full/star-wars5-movie-screencaps.com-11293.jpg

And here’s what I’m seeing on Disney+
https://i.imgur.com/ChQ9Cc7.jpg

Looks like they basically re-did the shirt texture entirely

It looks like it comes from the same source to me; however, it looks like the colorist probably masked it off and “smeared” it a bit to tone down the texture and make it less obvious.