well, we could say that inconsistency sometimes rules and we have to work case by case.
WARNER: getting very sharp transfers, aversion for dts, but too pixelated or digital often. Surprising since they own NEWLINE, which is often cited as reference ( colors density, picture density even if a bit soft sometimes, 3D aspect which is very important)
FOX: I like DHWAV except for the EE but the constrast, depth 3D and colors and definition is great. FOX is inconsistent but could it just be the film sources ? FOX non anamorphic transfers were often quite good
ARTISAN: not bad at all.
COLUMBIA: generally great but often serious problem with dialnorm issues. Raised the benchmark with their superbit editions. Issue with EE.
UNIVERSAL: sometimes great (VIRUS, DANTES PEAK), sometimes soso (the JP-LW transfers and the sound issue).
DREAMWORKS: very sharp but lack the colors and depth of some NEW LINE or COLUMBIA or FOX or PARAMOUNT transfers. great sound! they know how to do a dts track.
PARAMOUNT: some great transfers often such as RULES OF ENGAGEMENT, MI2 ( to me). no dts
MGM: generally poor but manages to do a few great transfers, with a good balance of depth, colors, definition, contrast (HANNIBAL) or even sub movie (SUPERNOVA) or ROBOCOP. Seemed to put lots of work with success on their Bond movies.
NEWLINE: long thought as reference with some gorgeous discs such as BLADE, LOST IN SPACE ( except lip sync), SEVEN SE, SET IF OFF. great masters of depth, colors and density. a bit soft sometimes. disappointing transfers , kinda, recently but due to problematic film sources.
To me, all movies should have the definition of superbit Columbia, Dreamworks and Warner, the density and colors of PARAMOUNT/NEW LINE/UNIVERSAL, the 3D-contrast of some FOX/NEW LINE/PARAMOUNT and the dts of DREAMWORKS
