#Avatar 4k remux professional

Inception is written, produced, and directed by Christopher Nolan. Inception 4K (2010) Ultra HD 2160p REMUX Review When he is offered a chance for redemption by reversing the process and planting an idea rather than stealing it, he and his team of specialists find themselves pitted against a dangerous enemy that appears to pre-empt their every move. This rare talent has cost him dear, rendering him a solitary fugitive stripped of everything he ever really cared about.

#Avatar 4k remux professional

For fans of the original, this re-release is the best way to see the film, but if you’re not already a Na’vi devotee, steer clear.Dom Cobb is a professional thief with a difference: the spoils he goes after are not material objects but the thoughts, dreams and secrets buried in the minds of other people. Overall, I still really don’t like “Avatar,” but this remaster is unlike anything I’ve ever seen. It’s a big swing, and it’s executed far better than past attempts, but it’s still not quite there.

It’s quite jarring and doesn’t improve the viewing experience enough to justify getting pulled out of the film every time things start moving at an unnatural speed. HFR is the one major flop of this remaster, aside from the fact that it’s still “Avatar,” and I spent my Friday night watching it instead of seizing what’s left of my youth. And note that I said “sequences” because the entire film doesn’t run at 48 frames per second, just several hand-picked shots where the constraints of 24 frames per second affect the viewing experience. That brings us back to “Avatar,” which was not shot in HFR, and the new sequences that use it have been generated by AI, much like the 4K upscale. Ang Lee tried his own hand at a pair of HFR films, shooting the films “Billy Lynn’s Long Halftime Walk” and “Gemini Man” at an even higher frame rate of 120 frames per second, which also received mixed responses, placing those films in a strange uncanny valley. Peter Jackson famously shot his “Hobbit” trilogy in 48 frames per second, to mixed reviews. Almost any theatrical film you’ll see runs at 24 frames per second, which has a specific, “cinematic” look, but over the past 10 years, certain filmmakers have tried to bend that rule. The most experimental bit of tech here, however, is HFR, short for High Frame Rate.

The new “Avatar” brings the world of Pandora to life with just an extra taste of realism. But for the most part, it’s impressively subtle and adds to Cameron’s legacy of pushing the boundaries of technology in film.

Shots with the background in soft focus have strange, sharpened bokeh. Close-ups of faces look a little more artificial and smeary. If I had to guess, it’s likely using the same technology Pixar developed to release their animated films in 4K, but again, “Avatar” is live-action.Īs far as how it turns out, well, the mileage varies. This is hardly new technology you can find plenty of AI-upscaled videos on YouTube, but it’s never been done with a live-action film on this scale. How could that be?Ĭameron hasn’t said much on the matter, but little artifacts in this new edition indicate that this is upscale. “Avatar” is now in 4K, despite having been shot, edited and had all visual effects rendered in 2K. The technology used to bring the film back to theaters is incredibly fascinating.ĤK is resolution four times the resolution of the HDTVs that exploded in the mid-to-late 2000s.