The production history of The Phantom Menace is a complex one. It was shot mostly on 35 mm photochemical film using Arriflex cameras and Hawk C-Series anamorphic lenses (for an intended aspect ratio of 2.39:1), though it was also one of the first features to utilize footage captured digitally in HDCAM as well (at 1080/24p using the Sony HDC-750—the new Panavision lenses this camera required weren’t ready for principle photography, but were available for re-shoots and second unit photography). Post production was done shot by shot, with original camera negative copied to an interpositive and then to internegative. Footage requiring VFX was scanned at 2K, with VFX produced digitally at sub-2K resolution (state-of-the-art at that time), and the finished shots were printed back out to internegative. The HDCAM footage was likewise printed to internegative. All of this film was then physically edited into a final cut negative, from which a properly color-timed interpositive was created (essentially the finished master element, though an early “Digital Intermediate” was made for pioneering exhibition in theaters by Texas Instruments—presumably a 2K scan of the interpositive). For the film’s original DVD release in 2001, that interpositive was scanned in 10-bit 2K by Lowry Digital, resulting in the creation of a 2K Digital Intermediate (complete with digital VFX tweaks and a color grade supervised by Lucas). This source was used again for the 2011 Blu-ray release, though with a bit more Lowry Digital remastering (and still more digital VFX and color timing tweaks).
For The Phantom Meance’s 3D theatrical release—and to protect Disney’s investment following the studio’s purchase of the Star Wars franchise in 2012—the cut negative (with VFX film-outs) was scanned again in 16-bit 4K by Reliance MediaWorks (formerly Lowry Digital). Lucas once again took the opportunity to tweak the VFX and color timing, resulting in the creation of a new 4K Digital Intermediate. This Ultra HD release (and the recent Disney+ version) was mastered from the 4K DI, with additional color grading for high dynamic range (only HDR10 is available on the disc, but Dolby Vision is available on the Digital version).
https://thedigitalbits.com/item/star-wa ... menace-uhd
https://ultrahd.highdefdigest.com/82130 ... luray.html
Autant dire qu'à moins que quelqu'un s'amuse à rescanner les pellicules 35 mm originales, celles sorties des caméras Arriflex (si tant est qu'elles existent encore, ce qui n'est pas gagné, il est possible que la seule copie existante soit le master de la final cut...) et à recréer à partir de rien l'intégralité des effets numériques du film (ce qui représente un budget colossal pour un retour sur investissement nul), il n'y aura très probablement jamais de meilleure version de TPM (mis à part peut-être une énième correction des couleurs, TPM ayant la conversion HDR la plus cracra des 6 films).
Et même si quelqu'un faisait ça, il resterait dans le film des plans irréductiblement filmés en 1080p (les reshoots et ceux de la second unit...).
Le monde entier attend les sorties sur chaque nouveau support ^^
, pour apparemment le même sentiment.
L'image est d'une stabilité sans faille, la définition fait un bond de géant en avant (les détails dans les couloirs des vaisseaux, les tableaux et consoles), la colorimétrie est complètement dans le "vrai" (adieu les "bleus" parasites ci et là, par exemple) et j'ai pas vu un seul flou.
