Jeśli ktoś z Was miał w planach oszczędności, zjawiam się ja 
. Sprawdźcie jak wygląda opinia o „Dr. No” w 4K:
„Dr. No was shot by cinematographer Ted Moore (A Man for All Seasons, Goldfinger, Clash of the Titans) on 35 mm film (specifically Eastman 50T 5250) using Mitchell BNC cameras with spherical lenses. It was finished photochemically with an intended aspect ratio of 1.75:1, though it was exhibited theatrically in the UK framed at 1.66 and in the US at 1.85. For its first ever disc release on Ultra HD, MGM commissioned a new 4K scan of the original camera negatives (I’ve confirmed this with WBDHE—the work was apparently done in 2024). Extensive digital remastering was completed as well and the image was graded for high dynamic range (compatible with both Dolby Vision and HDR10). The film is persented here at the originally intended ratio of 1.75 and it’s been encoded for maximum data rates on a 100GB disc. (The video rate alone averages around 70 Mbps with peaks of over 100 Mbps.)
The result is a very lovely, natural looking, and highly cinematic image. There’s a ton of detail, but it’s far more subtle looking that it appeared in the old Lowry Digital remaster (both on the MGM/20th Century Fox Blu-ray and the more recent 4K Digital version available via streaming), which suggests that the Lowry process involved a tremendous amount of artificial sharpening. (This is confirmed by the fact that there are a couple of shots in the film that appear optically soft in the negative, but the Lowry remaster sharpened them so much that it’s hard to tell on the old Blu-ray—specifically, I’m thinking of the scene with Bond, Lighter, and Quarrel sitting in conversation at Puss Feller’s nightclub, but that’s not the only example.) The sharpening also had the effect of flattening most of the depth of field out of the image, but it’s back again here.
When Lowry’s remaster was later released in 4K Digital, it was further scrubbed with noise reduction to the point that nearly all of the grain and some of the artificially-sharpened detail were removed, leaving faces looking somewhat waxy. So you’ll be glad to know that there’s no noise reduction here whatsoever—the grain is not only present, it’s organic looking. What’s more, while the Lowry remaster exhibited crushed shadows and highlights, here there’s much more detail on both ends. Colors also appear rich looking and accurate, with pleasing nuance. They’re well saturated too, but not overly so as they sometimes were in the Lowry remaster.
Essentially, this is a beautiful 4K image. But I suspect there will be some fans who’ll complain that it’s “not as detailed looking” as the previous Blu-ray. And they’re technically not wrong, it’s just that the old Lowry Digital remaster was a lot more… let’s say revisionist… than most of us realized at the time. The detail is all there in this 4K image, it just that it hasn’t been artificially sharpened to the nth degree, leaving all of the original subtleties in the camera negative unmolested.
On the audio side, MGM’s 4K disc includes the film’s remastered English soundtrack in a new Dolby Atmos mix that’s 7.1 Dolby TrueHD compatible. Fidelity is excellent overall, with the classic James Bond Theme rendered in full, rich tones. The soundstage is front-focused as you’d expect, and medium wide. The surround channels are employed mostly for light atmospherics and modest effects panning, adding a bit of sweep to Bond’s hard right turn on the road from the airport, for example. The height channels chime in occasionally, as when Bond’s plane touches down or to add a bit of lift to public announcements in the airport’s lobby. Bass is modest, but sufficient for tasks like deepening the growl of car engines. Dialogue is clean and readily discernible. This certainly isn’t a blustery or modern sounding mix, nor should it be. Restrained is the word I’d use to describe the Atmos experience, and there doesn’t appear to be any sound effects alterations (though I’ll leave those more familiar with these films to confirm it). You’ll be happy to know that the Original Theatrical audio is also included here in English 2.0 mono, this time in lossless DTS-HD Master Audio format (it was in lossy Dolby Digital on the previous Blu-ray).”
Link do recenzji Bill Hunt / The Digital Bits :
jamesbond.com.pl 