chocopock

Venny said:
Remember Paramount recently did amazing remasters of Wayne’s World, Truman Show, and many other films where they restored or fixed elements from their original Blu-Ray format releases. There is more care in the UHD division than there ever has been. There is no way they would fake gate weeve or fake film grain that’s just a bad faith assumption

Truman Show had wrong color grading and companies do fake film grain and gate weave. Studio Ghibli films do it all the time. Disney and Warner Bros. constantly use fake film grain especially in more recent remasters.

TonyWDA said:
You’re presuming the digital elements are still there and weren’t corrupted or rendered inaccessible due to several factors. Few, if any, studios outside of Disney and Pixar were that careful with the preservation of their digital assets and the legacy software/plug-ins used to generate visual effects and composite the final frames. The Iron Giant, Cats Don’t Dance, The Prince of Egypt, all three theatrical Rugrats movies, and even Disney’s own A Goofy Movie were all film-sourced for their high-definition transfers because the digital sources and programs used to composite a scene were either misplaced, damaged, or the company simply did not see the need to re-render the film shot by shot due to missing assets or an unwillingness to put in that much time to retrieve data that may or may not even load properly.

This is correct, however, when they made a transfer for the Spongebob movie on Blu-ray and HD broadcast they would’ve had an uncompressed digital copy made available. Disney and Pixar have done it but some of those machines likely don’t work any more. Once you do it once, you don’t need to do it again since it’s a perfect digital recreation. Disney has reused those same digital copies for their UHD releases which is why you’re stuck with altered versions of The Lion King and Beauty and the Beast. Those are the finalized versions they decided to backup and likely can’t access the originals anymore. None of your examples had digital to digital releases before, but Spongebob has.

I think y’all are being fooled by the new 4K transfer. It is not a filmout. Film looks significantly worse than this especially for digitally composited animation. This is 100% just a digital upscale with fake film grain and fake gate weave. All the screenshots look exactly the same as the previous Blu-Ray but darker due to the HDR obsession. There’s no reason Paramount would go back to scanning a filmout when the digital elements are right there. Think of the Jimmy Neutron movie and how that’s a filmout. It looks like shit because that’s just how that kind of content looks.

Bridger12 said:

chocopock said:

I think it would be a good idea to consult the director just as a general guidance for this project. I mean heck, I think he’d be down for a fan remaster if no big company wants to handle it! That said, I wouldn’t take his word as gospel, as we all know how directors can screw up their own films by revising them (Star Wars and LoTR for instance). But if we could get an idea of the vision for how it would be screened, and how the color grading is meant to be, it could be a big help for a start.

That’s why Jerry is also bringing the movie’s art director Brian McEntee in on the project.

That’s good then. I’m glad to hear that

I think it would be a good idea to consult the director just as a general guidance for this project. I mean heck, I think he’d be down for a fan remaster if no big company wants to handle it! That said, I wouldn’t take his word as gospel, as we all know how directors can screw up their own films by revising them (Star Wars and LoTR for instance). But if we could get an idea of the vision for how it would be screened, and how the color grading is meant to be, it could be a big help for a start. I’m very much interested in seeing this project come to fruition, as it’s one of the most important animated films of our time, and deserves a proper remaster.

SpookyDollhouse said:

Highly recommend going with 2 encodes for this one: full frame and theatrical 1.85. It was animated to be seen in the latter ratio.

Highly disagree. I think they should go for a 1.66:1 ratio for this film, as it’s typically how Disney distributed films would be. 1.85:1 was a common matte in America but I feel it would cut out too much info in this particular case. 1.66:1 would be the best to keep a cinematic feel while also keeping in mind the intended matted ratio (which as far as I’m aware, isn’t known; just that it was matted to a widescreen format in film festivals).