Mission: Impossible - Fallout Ultra HD Blu-ray Review - Page 4 - AVS Forum | Home Theater Discussions And Reviews
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post #91 of 121 Old 12-11-2018, 12:25 PM
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I like the movie. I watched the 4K UHD Bluray. I too was disappointed in the "soft focus scenes". I would have preferred the entire movie to be sharply focused (Filmed with digital camera than film). Much more impressed with John Wick 2 as far as picture quality goes. Otherwise an enjoyable movie.
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post #92 of 121 Old 12-11-2018, 03:55 PM
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Tom Cruise returns in 2020. Top Gun: Maverick. Directing is Joseph Kosinski (Tron:Legacy and Oblivion)
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post #93 of 121 Old 12-11-2018, 04:38 PM
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Originally Posted by dsertedsun View Post
Just finished watching the UHD and I must say that the IMAX scenes toward the end of the movie have to be the best picture quality I have seen all year on UHD.
The 4k bluray is a beast towards the end. All I kept thinking was look at the details in the helicopter.

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post #94 of 121 Old 12-12-2018, 08:19 AM
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I must be doing something wrong, because my picture quality is very "grainy" with noise. I have pretty much every 4k movie released this year and last, some are better quality that others, but based on the review, and when it was released, I expected better quality. The Dolby Atmos is really immersive, that's the bright spot. I am watching this in Dolby Vision, played by a Sony UBP-X700 on a Sony 75" X900F, and running through my Pioneer Elite VSX-LX303. All cables in the system at high speed, and other movies look and sound great.

Aside from the parachuting scene, nothing about the quality was great IMO. I get that it's a dark movie full of action. but other movies like Marvel movies, John Wick, Sicario, A Quiet Place, and even all my UHD digital copies from movies like Equalizer 2 are better via Vudu stream.

Just my pennies, wanted to see if if it was just me or if others had the same issue. My hard disk of Equalizer should be here today or tomorrow, will test out that one, I saw a 100 for the video presentation, will be interesting to see the benchmark for perfection.
I bought the 4k copy and it showed up, I rented the bluray befor it came and watched it. To be honest I didnt notice much difference in 4k. Not like other movies. So now I got this single 4k disc of a movie I dont particularly care for, with only one way to watch it lol. Like others I bought it expecting a great movie from the reviews, but hey I wasnt on the same hate boat with MI-2 as everyone else either.

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post #95 of 121 Old 12-12-2018, 08:28 AM
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I bought the 4k copy and it showed up, I rented the bluray befor it came and watched it. To be honest I didnt notice much difference in 4k. Not like other movies. So now I got this single 4k disc of a movie I dont particularly care for, with only one way to watch it lol. Like others I bought it expecting a great movie from the reviews, but hey I wasnt on the same hate boat with MI-2 as everyone else either.
Yeah I have never watched MI movies, just got it because I'm addicted to Dolby Atmos and HDR content. Not the best quality 4K representation. It is what it is though, live and learn. Will try to avoid 4k movies that were shot in film and just pick up the blu-ray instead.
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post #96 of 121 Old 12-12-2018, 11:06 AM
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I like the movie. I watched the 4K UHD Bluray. I too was disappointed in the "soft focus scenes". I would have preferred the entire movie to be sharply focused (Filmed with digital camera than film). Much more impressed with John Wick 2 as far as picture quality goes. Otherwise an enjoyable movie.
Then you should stop watching these type of films shot with a certain intent and carry on watching those 4K HDR YouTube videos.

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post #97 of 121 Old 12-12-2018, 11:08 AM
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Originally Posted by ctfromdc View Post
Yeah I have never watched MI movies, just got it because I'm addicted to Dolby Atmos and HDR content. Not the best quality 4K representation. It is what it is though, live and learn. Will try to avoid 4k movies that were shot in film and just pick up the blu-ray instead.
Are you being serious?

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post #98 of 121 Old 12-15-2018, 07:53 AM
 
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Thanks to Ralph Potts for greatly interesting review!
I'm looking forward to seeing this UHD Blu-ray too. Could've gotten it for free the other night, but my Shining Bride wanted Christopher Robin instead.
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It's not noise you are seeing, it's grain. The film was shot on film, not with digital cameras like the other movies you have listed.
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Not a big fan of film grain but the picture quality is still good overall. Especially that helicopter chase scene. Hoooomygod. Great movie though. Atmos track is fantastic too. My favorite Mission Impossible movie in the series for sure.
Finally saw the movie! Not my favorite MI movie, but nevertheless enjoyed it very much, including the soundtrack, and didn't mind the grainier film PQ at all.
Interesting indeed how those penultimate scenes were shot in the Imax format. Is that done very often? Was so wrapped-up in the scenes...afterwards I was wondering if I would've noticed the format change if I hadn't read Ralph Potts excellent review!
Thanks again. Mr. Potts !=)
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post #99 of 121 Old 12-15-2018, 08:59 AM
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This is my take, the first parts of the movie were a little darker/shadowy with great detail (mild grain) but not a huge amount of "POP." However, some of the daytime scenes and most definitely the Imax scenes were fantastic. Great "POP" and what action! I can see where some people might expect a pristine ultra "POP" picture but I believe that the small amounts of film grain give it the detail and real "Gritty" feel, hate to overuse this cliche, but "film like" quality. I had no problem with it.
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post #100 of 121 Old 12-15-2018, 09:03 PM
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It's funny because I had a few friends over to watch it and one of the guys loved the way it looked. He loved the grain and told me that it actually looked like a "movie". I love a razor sharp image (which this movie lacked at times), but the film grain really made it cool and reminded me that I love the look of movies shot on film.
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post #101 of 121 Old 12-15-2018, 10:06 PM
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Originally Posted by blastermaster View Post
It's funny because I had a few friends over to watch it and one of the guys loved the way it looked. He loved the grain and told me that it actually looked like a "movie". I love a razor sharp image (which this movie lacked at times), but the film grain really made it cool and reminded me that I love the look of movies shot on film.
Grain is ok, soft focus is where complaints arise. By comparison, look at U-571, shot in Super 35 and excellent sharpness. Interesting, when I watched it on a 92" screen, the focus was more of an issue than when I looked at it on a 55". How we view our films varies so that needs to be factored in with the diverging opinions.

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post #102 of 121 Old 12-16-2018, 08:41 AM
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I watched "Fallout" last night on bluray upscaled to 4K, with Atmos and really enjoyed the movie, nonstop action and all! There was a lot of softness to the movie, but those IMAX scenes were something! The Atmos sound was very well done.


I didn't like not being able to use my manual masking system though due to the switched aspect ratios; never been a fan of this. My JVC 540 does the bars pretty well, but we all know its not the same as being masked off.

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post #103 of 121 Old 12-16-2018, 08:13 PM
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Here's my small short take on this on.

While some scene were too much on the grainy side (for me), some others were very details and sharp.
Audio wise, It was excellent

Did very much enjoy this movie, and worth watching a second time or more.
Tom Cruise and I, are about the same stature of height wise and age.
While I am in a very good shape at 55, it still amaze me. That he still do, all his own stunts


Ray
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post #104 of 121 Old 12-18-2018, 01:14 PM
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Grain is ok, soft focus is where complaints arise. By comparison, look at U-571, shot in Super 35 and excellent sharpness. Interesting, when I watched it on a 92" screen, the focus was more of an issue than when I looked at it on a 55". How we view our films varies so that needs to be factored in with the diverging opinions.
I didn't notice that much softness, I will re watch. Any scenes stand out? 65" OLED

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post #105 of 121 Old 12-18-2018, 02:47 PM
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I didn't notice that much softness, I will re watch. Any scenes stand out? 65" OLED
No longer have it to point out a specific scene. All i know is that whenever i see a closeup regardless of the movie, if it looks soft, i notice the softness and wonder why it isn't a sharp image.
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post #106 of 121 Old 12-23-2018, 05:00 AM
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Good movie overall, picture quality was average at best. I like film grain but I found it lacked something to bring it to life. Atmos was immersive, but I thought the sound was a bit "dry" in some scenes. The finale scene is the highlight in both PQ and AQ!
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post #107 of 121 Old 12-23-2018, 06:15 AM
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Those imax scenes were insane PQ. I can’t wait for a time where all scenes are shot with such amazing cameras. The non imax scenes had grain and some people seem to hate that. Personally i liked the grain and didn’t think it was too much.

The audio was very pleasing. This atmos track was one of my top 5 of the year. Very good atmos usage in a number of scenes that sounded great!

Movie wise it was very entertaining as well! Good movie to pick up.
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post #108 of 121 Old 12-23-2018, 09:22 AM
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Those imax scenes were insane PQ. I can’t wait for a time where all scenes are shot with such amazing cameras. The non imax scenes had grain and some people seem to hate that. Personally i liked the grain and didn’t think it was too much.

The audio was very pleasing. This atmos track was one of my top 5 of the year. Very good atmos usage in a number of scenes that sounded great!

Movie wise it was very entertaining as well! Good movie to pick up.
Might have looked good on your 65", but on my 128" I am certain that Dunkirk, Interstellar and The Dark Knight had better IMAX shots IMHO.

As always, experience will vary on different setups
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post #109 of 121 Old 12-23-2018, 01:40 PM
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Might have looked good on your 65", but on my 128" I am certain that Dunkirk, Interstellar and The Dark Knight had better IMAX shots IMHO.

As always, experience will vary on different setups
Haven’t seen all those but the dark knight was equally impressive during the imax scenes.
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post #110 of 121 Old 12-24-2018, 07:37 PM
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The Dark Knight has decent PQ but I think stemmed from inexperienced cinematography in the format. Some shots just cheapened the overall look of the image. Clipping the top and bottom help with this a little bit, but the directing was uninspired when it came to camera usage. TDKR had similar issues, though not quite as bad. Once Nolan started working with Hoyte van Hoytema though, they found great ways to use IMAX cameras that kept largely consistent with the rest of those films, plus there were many more moments in Interstellar and Dunkirk that were shot with IMAX cameras.

I have yet to see what the Blu-ray for Fallout looks like in IMAX (I do expect I'll be getting it tomorrow morning for Christmas), but I'm guessing it will look pretty alright. I hate the switching aspect ratios though.
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post #111 of 121 Old 12-24-2018, 10:36 PM
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The Dark Knight has decent PQ but I think stemmed from inexperienced cinematography in the format. Some shots just cheapened the overall look of the image. Clipping the top and bottom help with this a little bit, but the directing was uninspired when it came to camera usage. TDKR had similar issues, though not quite as bad. Once Nolan started working with Hoyte van Hoytema though, they found great ways to use IMAX cameras that kept largely consistent with the rest of those films, plus there were many more moments in Interstellar and Dunkirk that were shot with IMAX cameras.



I have yet to see what the Blu-ray for Fallout looks like in IMAX (I do expect I'll be getting it tomorrow morning for Christmas), but I'm guessing it will look pretty alright. I hate the switching aspect ratios though.
Nice post. TDK IMAX footage was good for that time but not any longer. TDKR IMAX scenes are shot better and look better than TDK proving they learned from past experience.

IMAX scenes on Dunkirk, TDKR and Transformers 4/5 impressed me a lot than the first IMAX scene on fallout.

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post #112 of 121 Old 12-29-2018, 03:21 PM
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I watched this as a rental from Netflix and enjoyed the movie especially the sound because the rental had Dolby Atmos sound. The helicopter scenes looked incredible on blu-ray upscale to 4K. I can only imagine how good it must of looked on 4k UHD. I plan on purchasing the set of Mission Impossible films on 4K.
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post #113 of 121 Old 02-18-2019, 11:48 AM
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Screened this over the weekend via UHD disc, Samsung 9500, calibrated RS640, 120" AT scope screen, viewed from 14.5'.

I don't mean to be rude, but I'm taking everybody here to the filmmaking school house a bit here. I hope you will learn something from this and enjoy.

Disclaimer: I am highly biased regarding PQ because of my career as a feature film camera operator and DP on just this type of film/genre. Part of the job is sitting in screening rooms watching dailies (in the photochemical era, and on calibrated transfer room monitors in the digital age). The point is that I have a bias, but immense experience at judging PQ and finding a balance of what the DP intended/did and what he actually achieved on the screen. So, in some ways I'm hyper-critical of PQ, but also quite tolerant of creative elements and some human error. I did not work on this movie. Wish I had. Would have been a blast!

Since the MI movies are still shot mostly on film, I'll mostly address that perspective, technology, and protocols.

An overage of grain in dailies and/or poor contrast in dark scenes indicates a problem. It is highly likely that the lab will even have notes/comments on this with the dailies report. It's rare that a lab malfunction or error causes a problem. But they will provide notes on things they see (dirt, hair in the gate, scratches, soft focus, edge flashing, etc.). The lab provides dailies, whether projected or digital, with predetermined grading. Shots that have the exposure nominal to that grading look great. Those that don't indicate a problem. Most typically that is underexposure of the negative. That is why sets that have low APL don't look very dark when you are on them. There's quite a bit of light everywhere. The contrast ratio of all that lighting is carefully set/controlled so that virtually all parts of frame are exposed (virtually no part is truly dark)...which will render actual density on the negative. You do not want a "thin" negative. When shot properly, the grading in dailies (and final grading) will have lots of latitude so that it never looks muddy, grainy, noisy, etc.. That technical latitude gives the filmmakers the most creative latitude to manipulate the images in post.

Do DPs sometimes take too many risks with their lighting? Yes. That brings us to my impressions of PQ on MI Fallout after screening.

Having heard that there were PQ issues with this movie, even though from folks not in the film business, I was on high alert for problems as I screened this with some family and friends. When a scene is dark/low APL, and there are a number in this movie, my eye takes overall assessment, but also looks to specifics such as dark areas of the frame, grain level in dark and light areas, and focus. The only place that focus can be judged precisely in in the eyes of the actor. If I see that it is out of focus, I can also tell you "where" focus is...whether in front or behind the eyes. This is an acquired skill most critical on closeups. I can whisper to the camera assistant (AC) who is pulling focus. My technique is to whisper "Closer, closer..." or "Deeper, deeper..." When I quit whispering it means the focus is back on. This helps the AC not only recover, but re-calibrate his mental and lens references on the fly so that he is more likely to be accurate the rest of the shot. At the cut, I inform the director that we were soft on the whatever lines, but good by these lines (or vice versa if focus is good for a while then is lost somewhere along the way and not corrected). He can then judge if he needs to shoot another take of the entire scene, or do a pickup that can be cut in where the problem occurred.

I saw absolutely nothing objectionable throughout this movie with regards to black crush, muddy blacks, excessive grain, or compression artifacts. It was flippin' gorgeous throughout! Focus was unacceptably soft and embarrassingly bad on two shots. They were soft and lasting most of the shot. They were of Rebecca Ferguson (Ilsa) and I can't remember the scene, and Michelle Monaghan (Julia). Michelle's closeup in her final scene with Cruise in the hospital tent was pretty bad (in my world). It was behind her at her ear. Occasionally she would lean back just enough for it to look good. The operator nor the AC caught it. Very embarrassing in dailies...and jobs can be lost for such. Considering this movie was shot anamorphic for the most part, and it is so long and action-filled, it is astonishing that there are not lots of focus misses or buzzes. There just are none except as mentioned.

As for a judgement of focus/sharpness on a global scale, there is some more tough love for me to dish out here. This movie had no such global focus/softness issue. Does it meet the expectations of "sharpness" of each and every one of you? Clearly not...but that is not the goal of the filmmakers. The film stocks and lenses used are capable of great sharpness. It is entirely likely that some softening filtration may have been used on the shoot, but it is more likely this day and age that a global creative subjective level of sharpness was chosen in the grading for the 4K DI. As OC as I am about such PQ things, there is nothing objectionable about the "sharpness" of this movie. It fits perfectly. Yes, the IMAX shots/scenes jump off at us with the incredible resolution and contrast of such a large negative, but that's why they shoot just some scenes that way. If you dislike the level of "sharpness" in this movie, you have unrealistic and misguided expectations. Go ahead and speak your mind, let your wallet speak for you, or become a powerful filmmaker yourself so you can make the creative and technical decisions.

As for HDR, I am equally OC about the effectiveness of HDR because it is extremely dependent on good scene to scene grading. It seems that so many folks expect some kind of huge bang out of HDR...or it's not good. That you don't notice "IT" is the whole point of HDR. Although elements in a frame (darker areas and brighter areas) can be assessed, it is holistically...overall realism and impressive photographic quality...that make HDR more than just a gimmick. This movie is a superb example of that. So many scenes are just crazy gorgeous because of the fantastic grading for HDR. Dark scenes such as the underground one that lead up to and include the demise of Alec Baldwin's character, and the darkly contrasty house interior where Ilsa and Benji fight for control of the last nuke are superbly balanced in a way that is almost unattainable without HDR. Another wonderful example is the scene where Hunt and Ilsa meet and speak extensively in the shade between two rows of trees. The contrast between what can be seen beyond in full sunlight, the darkness of the trees, and the perfect lighting of their faces (in middle tones) is exquisite...due to superb HDR grading.

Personally, I would love to see any movie of this kind shoot completely in 65mm spherical (SuperPanavision) and delivered with at least a 4K UHD/HDR DI. The new Murder On the Orient Express did so to a great extent and was gorgeous. Unfortunately, it's very expensive to do so.

The filmmakers delivered MI Fallout with gloriously gorgeous PQ. I can't speak for what some folks are seeing. It may be that state of the art direct view and state of the art projection deliver two different pictures. SMPTE specs for direct view provide a much higher reference white luminance. Does that come with a downside that reveals grain/noise? The JVC calibrated to provide at least the minimum nits spec, proper black level, and gamma may provide a significantly different image. Is that image "superior" to direct view? All I can say is that I viewed it via JVC front projection, and I regard the PQ as stunningly gorgeous.

If you haven't watched the extras, do so. There is just no film franchise in the industry being made like these. I would love to have worked on this movie, but I can say that had I worked on it, I would be extremely proud upon the screening this weekend.

P.S.- The audio mix was off the chain! Amazing!

My $.02. Cheers.

Last edited by Cam Man; 02-18-2019 at 01:03 PM.
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post #114 of 121 Old 02-18-2019, 03:25 PM
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Can Man, you’ve pretty much summed up all of my thoughts and concerns regarding the general viewpoint of sharpness, grain and HDR implementation (amongst many other things) in the 4K UHD era. Having a degree in digital film production, I too notice many things the average viewer does not. Like you, I can see past any personal preferences I have and understand what the intention was on a given shot, and can often pick out mistakes that my wife didn’t notice.

It is honestly a huge bummer when I see people say they’re disappointed with an HDR grade, or there was too much grain, etc. There is a definite lack of understanding in this regard. I think the marketing of HDR itself is partly to blame, as every manufacturer goes for the WOW factor with unrealistic pop instead of a more natural image that literally looks as if you’re viewing through a window. The gaming world is no different; people want bright images with colors that pop, not a realistic looking one with subtle use of WCG and HDR.

Thanks for your post Cam Man.
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post #115 of 121 Old 02-18-2019, 03:28 PM - Thread Starter
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Originally Posted by Cam Man View Post
Screened this over the weekend via UHD disc, Samsung 9500, calibrated RS640, 120" AT scope screen, viewed from 14.5'.

I don't mean to be rude, but I'm taking everybody here to the filmmaking school house a bit here. I hope you will learn something from this and enjoy.

Disclaimer: I am highly biased regarding PQ because of my career as a feature film camera operator and DP on just this type of film/genre. Part of the job is sitting in screening rooms watching dailies (in the photochemical era, and on calibrated transfer room monitors in the digital age). The point is that I have a bias, but immense experience at judging PQ and finding a balance of what the DP intended/did and what he actually achieved on the screen. So, in some ways I'm hyper-critical of PQ, but also quite tolerant of creative elements and some human error. I did not work on this movie. Wish I had. Would have been a blast!

Since the MI movies are still shot mostly on film, I'll mostly address that perspective, technology, and protocols.

An overage of grain in dailies and/or poor contrast in dark scenes indicates a problem. It is highly likely that the lab will even have notes/comments on this with the dailies report. It's rare that a lab malfunction or error causes a problem. But they will provide notes on things they see (dirt, hair in the gate, scratches, soft focus, edge flashing, etc.). The lab provides dailies, whether projected or digital, with predetermined grading. Shots that have the exposure nominal to that grading look great. Those that don't indicate a problem. Most typically that is underexposure of the negative. That is why sets that have low APL don't look very dark when you are on them. There's quite a bit of light everywhere. The contrast ratio of all that lighting is carefully set/controlled so that virtually all parts of frame are exposed (virtually no part is truly dark)...which will render actual density on the negative. You do not want a "thin" negative. When shot properly, the grading in dailies (and final grading) will have lots of latitude so that it never looks muddy, grainy, noisy, etc.. That technical latitude gives the filmmakers the most creative latitude to manipulate the images in post.

Do DPs sometimes take too many risks with their lighting? Yes. That brings us to my impressions of PQ on MI Fallout after screening.

Having heard that there were PQ issues with this movie, even though from folks not in the film business, I was on high alert for problems as I screened this with some family and friends. When a scene is dark/low APL, and there are a number in this movie, my eye takes overall assessment, but also looks to specifics such as dark areas of the frame, grain level in dark and light areas, and focus. The only place that focus can be judged precisely in in the eyes of the actor. If I see that it is out of focus, I can also tell you "where" focus is...whether in front or behind the eyes. This is an acquired skill most critical on closeups. I can whisper to the camera assistant (AC) who is pulling focus. My technique is to whisper "Closer, closer..." or "Deeper, deeper..." When I quit whispering it means the focus is back on. This helps the AC not only recover, but re-calibrate his mental and lens references on the fly so that he is more likely to be accurate the rest of the shot. At the cut, I inform the director that we were soft on the whatever lines, but good by these lines (or vice versa if focus is good for a while then is lost somewhere along the way and not corrected). He can then judge if he needs to shoot another take of the entire scene, or do a pickup that can be cut in where the problem occurred.

I saw absolutely nothing objectionable throughout this movie with regards to black crush, muddy blacks, excessive grain, or compression artifacts. It was flippin' gorgeous throughout! Focus was unacceptably soft and embarrassingly bad on two shots. They were soft and lasting most of the shot. They were of Rebecca Ferguson (Ilsa) and I can't remember the scene, and Michelle Monaghan (Julia). Michelle's closeup in her final scene with Cruise in the hospital tent was pretty bad (in my world). It was behind her at her ear. Occasionally she would lean back just enough for it to look good. The operator nor the AC caught it. Very embarrassing in dailies...and jobs can be lost for such. Considering this movie was shot anamorphic for the most part, and it is so long and action-filled, it is astonishing that there are not lots of focus misses or buzzes. There just are none except as mentioned.

As for a judgement of focus/sharpness on a global scale, there is some more tough love for me to dish out here. This movie had no such global focus/softness issue. Does it meet the expectations of "sharpness" of each and every one of you? Clearly not...but that is not the goal of the filmmakers. The film stocks and lenses used are capable of great sharpness. It is entirely likely that some softening filtration may have been used on the shoot, but it is more likely this day and age that a global creative subjective level of sharpness was chosen in the grading for the 4K DI. As OC as I am about such PQ things, there is nothing objectionable about the "sharpness" of this movie. It fits perfectly. Yes, the IMAX shots/scenes jump off at us with the incredible resolution and contrast of such a large negative, but that's why they shoot just some scenes that way. If you dislike the level of "sharpness" in this movie, you have unrealistic and misguided expectations. Go ahead and speak your mind, let your wallet speak for you, or become a powerful filmmaker yourself so you can make the creative and technical decisions.

As for HDR, I am equally OC about the effectiveness of HDR because it is extremely dependent on good scene to scene grading. It seems that so many folks expect some kind of huge bang out of HDR...or it's not good. That you don't notice "IT" is the whole point of HDR. Although elements in a frame (darker areas and brighter areas) can be assessed, it is holistically...overall realism and impressive photographic quality...that make HDR more than just a gimmick. This movie is a superb example of that. So many scenes are just crazy gorgeous because of the fantastic grading for HDR. Dark scenes such as the underground one that lead up to and include the demise of Alec Baldwin's character, and the darkly contrasty house interior where Ilsa and Benji fight for control of the last nuke are superbly balanced in a way that is almost unattainable without HDR. Another wonderful example is the scene where Hunt and Ilsa meet and speak extensively in the shade between two rows of trees. The contrast between what can be seen beyond in full sunlight, the darkness of the trees, and the perfect lighting of their faces (in middle tones) is exquisite...due to superb HDR grading.

Personally, I would love to see any movie of this kind shoot completely in 65mm spherical (SuperPanavision) and delivered with at least a 4K UHD/HDR DI. The new Murder On the Orient Express did so to a great extent and was gorgeous. Unfortunately, it's very expensive to do so.

The filmmakers delivered MI Fallout with gloriously gorgeous PQ. I can't speak for what some folks are seeing. It may be that state of the art direct view and state of the art projection deliver two different pictures. SMPTE specs for direct view provide a much higher reference white luminance. Does that come with a downside that reveals grain/noise? The JVC calibrated to provide at least the minimum nits spec, proper black level, and gamma may provide a significantly different image. Is that image "superior" to direct view? All I can say is that I viewed it via JVC front projection, and I regard the PQ as stunningly gorgeous.

If you haven't watched the extras, do so. There is just no film franchise in the industry being made like these. I would love to have worked on this movie, but I can say that had I worked on it, I would be extremely proud upon the screening this weekend.

P.S.- The audio mix was off the chain! Amazing!

My $.02. Cheers.
Quote:
Originally Posted by Big Brad View Post
Can Man, you’ve pretty much summed up all of my thoughts and concerns regarding the general viewpoint of sharpness, grain and HDR implementation (amongst many other things) in the 4K UHD era. Having a degree in digital film production, I too notice many things the average viewer does not. Like you, I can see past any personal preferences I have and understand what the intention was on a given shot, and can often pick out mistakes that my wife didn’t notice.

It is honestly a huge bummer when I see people say they’re disappointed with an HDR grade, or there was too much grain, etc. There is a definite lack of understanding in this regard. I think the marketing of HDR itself is partly to blame, as every manufacturer goes for the WOW factor with unrealistic pop instead of a more natural image that literally looks as if you’re viewing through a window. The gaming world is no different; people want bright images with colors that pop, not a realistic looking one with subtle use of WCG and HDR.

Thanks for your post Cam Man.

Greetings,

Wonderfully insightful post Cam Man. Thanks to you both for sharing...


Regards,
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post #116 of 121 Old 02-20-2019, 01:34 PM
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Greetings,

Wonderfully insightful post Cam Man. Thanks to you both for sharing...


Regards,
Thank you, sir. My pleasure.

I was wondering if you noticed some interesting new dramatic touches in this MI. Ving (Luther), Rebecca (Ilsa) and Michelle (Julia) all get at least one expanded, beefier scene to sink their teeth in. I particularly liked Ving getting the scene with Rebecca to describe to her Hunt's relationships, specifically to Julia, but implied to her (Ilsa). Nice work. Rebecca is always a pleasure. I was also quite impressed with Michelle's appearances. That surprise reunion with Ethan was brutally well done, although by Cruise to a great extent. The embrace at the end of that scene was tough. Her scene with Luther at the nuke was rather routine, but her farewell with Ethan at the end (despite being focus buzzed) was pretty great stuff for a movie like this. Rogue Nation approached this briefly when Ilsa surprised Ethan when they had her cornered in the mall food court...suddenly proposing a joint retirement. I thought Cruise's pause to ponder that was masterfully done. It reminded me a good bit of the proposal made by Pierce Brosnan's Thomas Crown to Rene Russo's character to bolt...disappear. Hunt and Ilsa could not make the same decision, but it was implied again at the end when Ilsa reminded him that he knew where to find her. Again, you could tell this was making an impression on Hunt.

I think it is a good touch to suggest that the character is aware that life's clock is ticking for him. Cruise and director McQuarrie gave us a wonderful moment early in Rogue Nation when the record shop girl inquired after verifying his identity whether all the stories were true. "They can't all be true!" Cruise's silent, reflective play on that was humility and the fact that he was forced for a moment to ponder his career arc and his age. That's good movie making...I don't care who you are.

Believe it or not, the A-camera operator is very much in tune with the actor's performance in each shot. Sometimes there is spontaneity in the performance that may surprise you. And you are supremely attentive to their eyes and body language/rhythms. The operator's hands on the wheels don't just respond to gross movements, but often the rhythms of the actor. It affects how you operate. Actors can sense this from how the operator communicates with them and others on the set. They can sense when an operator is solely a technician and/or is phoning in his work. If they sense that the operator is invested in the effort, a great alliance can quietly be founded. They come to trust you because they believe that you are helping them make a great movie. At the wrap of a project a number of years ago, Kurtwood Smith simply said to me "...I trust you." That surprised me and made a great impression that lasted and influenced all my future work. I love this aspect of the job.

Of course an operator can never comment on the performance of an actor on the set. That belongs to the director alone. But there are times when a performance is exceptional and the actor's eye may fall on the operator for a moment after the cut. There is occasionally an unspoken/silent connection made at that moment after such a performance. It is likely just eye contact and perhaps a hint of a knowing smile on my face, but they know what I mean and silently acknowledge it with the same. It's a great but kind of secret part of the job.

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post #117 of 121 Old 02-20-2019, 02:14 PM
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Ralph...as always thanks for all the great reviews. You've been my go to reviewer for a long time now.

Cam Man...love when you chime in...I always learn something.

Btw...I loved this movie and am glad that the series is still going strong. 3 is still my favorite but 5 out of 6 excellent movies in a series is very impressive!!
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post #118 of 121 Old 02-21-2019, 07:38 AM
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Spoiler!


Thanks for your input! Now I have to watch it again and see if my "faux-K" projector can display what you shared.
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post #119 of 121 Old 02-21-2019, 08:26 AM
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Thanks for your input! Now I have to watch it again and see if my "faux-K" projector can display what you shared.
That's a really fun aspect to our community here. If you spot something else, let us know.
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post #120 of 121 Old 02-21-2019, 08:32 AM
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Quote:
Originally Posted by Cam Man View Post

I think it is a good touch to suggest that the character is aware that life's clock is ticking for him. Cruise and director McQuarrie gave us a wonderful moment early in Rogue Nation when the record shop girl inquired after verifying his identity whether all the stories were true. "They can't all be true!" Cruise's silent, reflective play on that was humility and the fact that he was forced for a moment to ponder his career arc and his age. That's good movie making...I don't care who you are.
I also took that reaction as a paternal moment as he pondered the lovely girl; and the rise of the new generation of those who serve in the shadows. It made all the more painful his (and our) witness of her demise. It set a brutal foundation for the assassin, as well.

We saw that compassion again in Fallout as the female French police officer was faced with a terrible paradox. It reminds me of the new book Character Carved in Stone: The 12 Core Virtues of West Level That Construct Leaders and Produce Success by Pat Williams. Compassion is one of them.

Like I said...That's good movie making...I don't care who you are.
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Last edited by Cam Man; 02-21-2019 at 08:42 AM.
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