Widescreen Review magazine a écrit :When the director came in to view the finished result, he decided to bring in his own personal TV set to view the transfer. All the engineers and telecine operators at the facility were aghast, and tried mightily to explain to the director that there’s no way a $1,000 TV set can reproduce the subtleties of a $10,000 broadcast monitor, but the director wouldn’t hear of it. “Nonsense,” he retorted. “I’ve watched hundreds of films on this set. This is my own personal standard, and I just want to use it as an additional reference.” Numerous changes were made, just comparing the image on the expensive lab-grade monitor and the cheap consumer set, sometimes averaging a compromised setting between the two. This necessitated even more time and expense, since sometimes, the frustrated telecine colorist could make the image look good on one of the monitors, but not both at the same time.
The director was also unhappy with the grain in the problem scenes. As luck would have it, the transfer was recorded on the component digital D-1 video format*, which is now the standard for the telecine industry. Mr. Y [le représentant officiel du réalisateur] suggested that they remove the grain by dubbing the master tape through a noise-reduction device. These noise-reducers (also known as grain reducers) essentially use a computer to make intelligent decisions on a pixel-by-pixel basis, analyzing which part of the picture is noise and which is actual detail, and then subtracting the noise pixels. Unfortunately, when overused, the noise-reducers tend to add a degree of “lag” and “smearing” to the image, as the overtaxed circuits can’t make their decisions fast enough. This adds artifacts and flaws, and also tends to make the picture soft.
When he looked at the new tape, the director felt that the image was better, but now it lacked the crispness of the original. Now, the second-generation D-1 tape was fed through an image enhancer, which sharpens images by delaying one line of information and adding a subtle black outline to sharp edges. The director viewed this tape, and he pronounced it better still, but now, too much of the grain was back!
Rather than do the transfer over again, Mr. Y made the decision to again feed the enhanced D-1 dub through the noise-reduction box, only this time, it would be done at a much lower setting. At last, the director viewed the fourth-generation D-1 tape, and approved the noise-reduced, enhanced, and noise-reduced image. But that doesn’t mean the picture looked good.
Widescreen Review magazine a écrit :When the director came in to view the finished result, he decided to bring in his own personal TV set to view the transfer. All the engineers and telecine operators at the facility were aghast, and tried mightily to explain to the director that there’s no way a $1,000 TV set can reproduce the subtleties of a $10,000 broadcast monitor, but the director wouldn’t hear of it. “Nonsense,” he retorted. “I’ve watched hundreds of films on this set. This is my own personal standard, and I just want to use it as an additional reference.” Numerous changes were made, just comparing the image on the expensive lab-grade monitor and the cheap consumer set, sometimes averaging a compromised setting between the two. This necessitated even more time and expense, since sometimes, the frustrated telecine colorist could make the image look good on one of the monitors, but not both at the same time.
The director was also unhappy with the grain in the problem scenes. As luck would have it, the transfer was recorded on the component digital D-1 video format*, which is now the standard for the telecine industry. Mr. Y [le représentant officiel du réalisateur] suggested that they remove the grain by dubbing the master tape through a noise-reduction device. These noise-reducers (also known as grain reducers) essentially use a computer to make intelligent decisions on a pixel-by-pixel basis, analyzing which part of the picture is noise and which is actual detail, and then subtracting the noise pixels. Unfortunately, when overused, the noise-reducers tend to add a degree of “lag” and “smearing” to the image, as the overtaxed circuits can’t make their decisions fast enough. This adds artifacts and flaws, and also tends to make the picture soft.
When he looked at the new tape, the director felt that the image was better, but now it lacked the crispness of the original. Now, the second-generation D-1 tape was fed through an image enhancer, which sharpens images by delaying one line of information and adding a subtle black outline to sharp edges. The director viewed this tape, and he pronounced it better still, but now, too much of the grain was back!
Rather than do the transfer over again, Mr. Y made the decision to again feed the enhanced D-1 dub through the noise-reduction box, only this time, it would be done at a much lower setting. At last, the director viewed the fourth-generation D-1 tape, and approved the noise-reduced, enhanced, and noise-reduced image. But that doesn’t mean the picture looked good.
Cela me rappelle un passage absolument fascinant de l'interview de Van Ling dans le magazine DVDVision numéro 2 de décembre 99 (ça ne nous rajeunis pas) où il parle du transfert film à vidéo des films de Cameron. Cet extrait nuance un peu les propos cités ci-dessus :
(Notez en passant la beauté de la mise en page de ce magazine. Et le papier glacé bien épais qui va avec).
Quid de la suite en UHD pour le troisième et quatrième film de la saga ?
Enfin, c'est le Fincher que j'attends. Je me demande comment va être le rendu de certains SFX en 4K.
Et surtout, après Aliens, à quoi il faut s'attendre.
Le premier est sorti avant l'acquisition de la Fox par Disney, et le deuxième est surtout sorti en tant que "film de James Cameron", en lot avec Abyss et True Lies.
Disney a édité récemment des séries de sa plateforme pour faire du cash, et quelques films d'animation. Pour le reste, que ce soit Disney ou Fox, c'est le calme (très) plat.
