Im casting doubt on them doing 4K re-renders. At best it will be 4K recompositing for shots that are simple composites. I doubt they will be re-rendering any complex CGI.
All non-CGI shots have been scanned in 4K from the original negatives, and all CGI shots have been scanned in 4K from the original VFX film-outs. So yes, the CGI remains 2K (although scanned in 4K), but I believe it’s at least been re-composited with the newly-scanned 4K footage. So overall, it should be a nice uptick in quality!
That is, as long as they didn’t majorly eff up the color grading again! IMO, this NEEDS to have an HDR grade that’s very much in the spirit of the original theatrical/DVD look (although with higher dynamic range and a wider color gamut, of course). If it has a new revisionist grade – or if it has a stupid, dark green grade again – then I’m going to be pissed.
If you want to integrate the scenes from the 4K version (if it turns out good) into the regrade, you have to use Media Player Classic Home Cinema with MadVR to obtain tonemapped PNG screen grabs of the individual frames for the scenes and splice them into the project on DaVinci Resolve.
Nah, that’s the wrong way to go about it, IMO. I’d do a ProRes transcode of the whole film, without tone-mapping. That way I’d have the entire dynamic range and gamut of the footage at my disposal. Using footage that’s already been automatically tonemapped would be very restricting.
It probably won’t come to that though, at least not anytime soon. I don’t have as much free time as I used to when I made this restoration. (Plus, I have faith that this new 4K version will be good! If it ends up sucking though, I may change my mind and decide to do it, haha).
I believe that according to some website, DaVinci Resolve tonemapping has the correct luma but not the right chroma. However, I’ve seen that MadVR gives out both the correct chroma and luma, as seen in some 4K screenshots of modern films giving a similar result to the Blu-ray using MadVR.