The Hills Have Eyes Arrow Blu Ray Review
The Hills Have Eyes was shot on 16mm movie with Arriflex cameras and has been restored in 4K from diverse 35mm sources, rather than its original camera negative for a previous Arrow release dorsum in 2017. This new 4K edition, based on that previous restoration (no further data as to if whatever additional work has been washed has been fabricated available), presents a native 3840 10 2160p resolution image with a widescreen i.78:1 aspect ratio (opened up from the film'southward original one.85:i OAR), which uses 10-bit video depth, High Dynamic Range (HDR10) and a Wide Colour Gamut (WCG) and is encoded using the HEVC (H.265) codec.
We reviewed the Region gratuitous UK Ultra HD Blu-ray release of The Hills Have Eyes on a JVC-DLA N5 Ultra HD 4K projector with a Panasonic DP-UB9000 Dolby Vision HDR10+ 4K Ultra Hard disk drive Blu-ray player.
... it looks actually vibrant for a 35mm blow up from a 16mm negative
Given its origins, expectations must be gear up appropriately – the first thing to notice is that grain is incredibly thick but appropriate and looks to be nicely managed beyond the whole film. Fine detail is once more advisable for its 16mm origins, with it having a caste of softness that shows no digital border enhancement work has been washed at all. There's simply not the level of detail bachelor in the negative that would prove the same kind of facial detail in close up that the more traditional 35mm or even modern Hd digital cameras can manage and while it renders the whole image 'soft' by these traditional standards, it looks exactly equally information technology should. Could any more item be made available if the 16mm negative hadn't been lost? Peradventure, but it's somewhat of a moot point seeing as that merely isn't available.
The HDR10 grade, non Arrow's usual Dolby Vision flavor of HDR, really brings the image to life though. The colour residue between realistic skin tones and the rich pops of colour that punctuates the image (such as Dee Wallace's rich purple cardigan) is spot on, the visuals having a lovely degree of depth too cheers to a squeamish dissimilarity ratio being employed throughout. Information technology's not a film of sparkling highlights however, the HDR class used just to add that extra layer of depth to both the dark and the bright areas of the picture, notably in the blinking reflections of the sun off the motorcar and the trailer.
The print has some inconsistency to it due to reels from unlike sources existence used – at effectually the 35 min mark, in that location's some notable brightness fluctuations in the night sky as Russ Grieve is making his way back to the camper, and certainly across parts of the first human activity there is a very faint but noticeable vertical line nowadays baked into the image. At that place are instances of low-level impress damage too, with noticeable white spots cropping upwardly across various scenes, only once more these seem to be broiled into those source prints.
And finally, disc pinch seems solid, with no noticeable artefacts observed – fleck rates hover steadily between 45 and fifty mbps for the nearly function, with the odd pinnacle nudging 60 mbps observed with the quick scan through the pic's playback information for those that similar numbers.
Overall, it looks really vibrant for a 35mm accident upwardly from a 16mm negative, the HDR and WCG really being the standouts from a visual perspective.
Just the large question is how much of an upgrade is this over previous versions? Pointer released a 1080p version back in 2017 and German outfit Turbine released their own UHD version earlier this year. While I oasis't seen the Turbine 4K, I do have the previous Arrow release and was able to exercise some direct comparisons between the two images, with some interesting but not unsurprising results.
As seems to be the case with Arrow's 4K upgrades, the image is noticeable darker in colour grade. Where the bright red of Grieve's shirt is an virtually blinding slab of vivid red in the 1080p release, the 4K disc tones the brightness right downward, adding richness, depth and shadow particular instead, the darker grading helping the fine detail of the folds of the cloth stand up out much more noticeably. The almost overblown colours of the previous version throughout are now sufficiently toned down to give a much more immediately detailed and pleasing image, which is obvious even without the demand to resort to side past side comparisons. All other aspects of the two sets of images seem to be very similar, indicating both came from the same source, merely the deviation in epitome quality between the two versions (Arrow 1080p and Pointer 4K) – that dialling back of the brightness - is surprisingly stark. A definite and obvious visual upgrade.
A quick scan of screenshots of the Turbine version from the usual reliable sources seem to indicate that this new Arrow 4K version is remarkably similar, hinting that possibly it's the same scan used in both. But this is conjecture at this moment in fourth dimension and those with that version may wish to do some enquiry for themselves to meet if this is worth a double dip.
Note: the score beneath for the moving picture quality is relative to its source and origins, not in terms of an overall comparison against other 4K releases with higher quality source materials.
Source: https://www.avforums.com/reviews/the-hills-have-eyes-1977-4k-blu-ray-review.19234/
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