Pieter V

The Amazing Spider-Man 2 4K Blu-ray

The Amazing Spider-Man 2 4K Blu-ray Review




The Amazing Spider-Man 4K / The Amazing Spider-Man 2 4K Blu-ray

dvdmike

I hate the HDR pictures they posted for this, will stick with 3d

jono3000

Could be tempted with this one

bailey1987

This and Kingsmen are the only two I have interest in so far.

Pieter V

The intended look and how this movie looks overall, doesn't really lean for UHD. I bet it's not day and night. The Blu-ray was already 4K mastered and kept the film grain alive.

MisterXDTV

You could say that for a lot of these movies, especially for those that were shot on 35mm film....

Pieter V

I know. There is the first bump. We are dealing here with the film-ish look.
Documentaries shot in 4K will look stunning, with razor sharp images.

Can't wait to see the first comparisons between Blu-ray and UHD Blu-ray.

Penton-Man

Due to budgetary concerns as well as taking advantage of the lack of post production knowledge of filmmakers (Directors and D.P.s), this has led to a less than 16 bit workflow for your typical motion picture in your typical post facility, Amazing Spider-Man 2 has 16 bit sources which can bring out more perceived detail….which is much less dependent on screen-to-eye distance as compared to the spatial resolution parameter.

Moral....for the best quality for future 4K/UHD productions….capture, handle and master in 16-bit, (in regards to film acquisition, 4K 16 bit scanning as explained in the hyperlink in the above paragraph...despite the fact that deliverables to the home, or, for that matter, to D-Cinema, are not at the 16 bit level, it’s best to start with the highest quality master to encode whether it be for Ultra HD Blu-ray or digital cinema distribution.

MisterXDTV

My question (I really don't know) is: these digital improvements such as HDR or 16-bit mastering are meaningful also for movies shot on film?

You can't create what is not in the original source....

Penton-Man

Yes, no question there is an easily perceivable harvest improvement at least with regards to Vision 3 stocks, review the last paragraph….
https://forum.blu-ray.com/showthread...n#post11150671

Internal testing at Sony has proven it (4K 16 bit scanning) to yield clearly superior imagery as compared to your more commonplace 10 bit DPX scanning.

Penton-Man

That's just it. The tonal detail is in the source, but not all captured with 10 bit scanning.

MisterXDTV

Ok, but what kind of display specs/size do you need to appreciate the difference between 10 and 16 bit scanning?

dvdmike

Pretty sure there is no 16bit display

MisterXDTV

Yeah, but his idea if I understood it right, is that starting from a 16 bit scan instead of a 10 bit scan, you are able to preserve detail better even when it later gets downconverted for delivery....

I don't have such a good sight I think..

Penton-Man

as seen on a 10 bit OLED panel with 12 bit output capability…..by viewers having normal (BCVA) vision.

size is pretty much immaterial.

Penton-Man

It was an “idea” expressed years ago by one of these fellows on stage….


Fast forward to today and the “idea” has been proven true with the testing and viewing of such harvested celluloid content at Sony Pictures.

BozQ

Tempted to get this. But I doubt it's going to be a big change in quality. Not with that much CGI.

jonmoz

If this is the sort of initial release we are going to get with Blu-ray UHD,god help the format ever going anywhere but very niche.

dvdmike

A major superhero film on the eve of the marvel version film coming out is niche?
All the big blockbusters are 2k at least this had a 4k master

JayEmm

It's not so much something the end user benefits from, as the content creators. Particularly when grading/colouring a film, having scanned in 16-bit gives you a much higher number of shades - giving you more flexibility before the film "falls apart".

There is a good argument for 10-bit distribution over 8-bit I would say, but much more than that is not necessary for display.

The ASC (American Society of Cinematographers) have a workflow which is entirely based around a 16-bit linear "raw" image. It's becoming adopted slowly, but is very handy for filmmakers who deal with many different, sometimes conflicting, standards.