Columbia Classics Collection Vol.2 (4k: Taxi Driver, The Social Network, Oliver!, Anatomy of a Murder, Stripes, Sense and sensibility)

Product detailed description

Contains 14 discs

6x 4k Ultra HD Blu-ray

Taxi Driver

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10, Dolby Vision)
• Aspect ratio 1.85:1
• Original audio in DTS-HD MA 5.1
• BD-100 (triple-layer UHDBD)

Do I get native 4k Ultra HD?

Yes. The same is true of most of the films in this collection: they were made at a time when digital cinema did not exist, of course, and so they were shot on classic 35mm analogue film. This has the advantage of a theoretical resolution of around 6k (depending on many aspects, of course) and is great for archiving. So the studio was able, in creating the magnificent Columbia Classics collection, to reach into the vaults for the original negatives, clean them up and thus completely restore them - and then scan them in 4k for the new master. The latter is able to combine the advantages of both old and new technology into an absolutely perfect spectacle: Native 4k extracts almost the maximum image information from the film, both in terms of detail and in terms of brightness range and colour. Ultra HD transfer then presents this information in the best possible quality: HEVC takes care of visuals free of compression artifacts while preserving film characteristics, including grain; Ultra HD resolution then provides ample room for the maximum amount of image information; HDR and WCG on top carry all the available luminance and tonal "data" and present it in a form that pockets both the original cinema projections in the days of the premiere and many films shot on digital cameras today. With Columbia Classics' new transfers of cinematic classics, we get an absolutely phenomenal spectacle.

Sense and Sensibility

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10)
• Aspect ratio 1.85:1
• Original audio in Dolby Atmos
  
• BD-100 (triple-layer UHDBD)

Do I get native 4k Ultra HD?

Yes. The same is true of most of the films in this collection: they were made at a time when digital cinema did not exist, of course, and so they were shot on classic 35mm analogue film. This has the advantage of a theoretical resolution of around 6k (depending on many aspects, of course) and is great for archiving. So the studio was able, in creating the magnificent Columbia Classics collection, to reach into the vaults for the original negatives, clean them up and thus completely restore them - and then scan them in 4k for the new master. The latter is able to combine the advantages of both old and new technology into an absolutely perfect spectacle: Native 4k extracts almost the maximum image information from the film, both in terms of detail and in terms of brightness range and colour. Ultra HD transfer then presents this information in the best possible quality: HEVC takes care of visuals free of compression artifacts while preserving film characteristics, including grain; Ultra HD resolution then provides ample room for the maximum amount of image information; HDR and WCG on top carry all the available luminance and tonal "data" and present it in a form that pockets both the original cinema projections in the days of the premiere and many films shot on digital cameras today. With Columbia Classics' new transfers of cinematic classics, we get an absolutely phenomenal spectacle.

The Social Network

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10, Dolby Vision)
• Aspect ratio 2.40:1
• Original audio in Dolby Atmos
  
• BD-66 (double-layer UHDBD)

Do I get native 4k Ultra HD?

Fincher's vision of the creation of Facebook is the only one in the collection filmed on digital cameras. Specifically, on Red One MXs, the raw footage of which was stored at 4.5k. And although the resulting master is downsampled to 2k, making the UHDBD an upsampled presentation, one can expect nothing less than a reference spectacle. For Fincher is an absolute perfectionist, which is true both of his work with the visuals and the technology responsible for them, i.e. the cameras. Social Network may not be brimming with eye-catching visuals, but what it does work with, the disc showcases in the best possible quality. Given its digital origins and 2k master, we can't expect The Social Network to ever look better in the future, so what applies to most UHD discs is true: the film has never looked better than it does on this disc, and most likely never will.

Stripes

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10, Dolby Vision)
• Aspect ratio 1.85:1
• Original audio in Dolby Atmos
  
• BD-100 (triple-layer UHDBD)

Do I get native 4k Ultra HD?

Yes. The same is true of most of the films in this collection: they were made at a time when digital cinema did not exist, of course, and so they were shot on classic 35mm analogue film. This has the advantage of a theoretical resolution of around 6k (depending on many aspects, of course) and is great for archiving. So the studio was able, in creating the magnificent Columbia Classics collection, to reach into the vaults for the original negatives, clean them up and thus completely restore them - and then scan them in 4k for the new master. The latter is able to combine the advantages of both old and new technology into an absolutely perfect spectacle: Native 4k extracts almost the maximum image information from the film, both in terms of detail and in terms of brightness range and colour. Ultra HD transfer then presents this information in the best possible quality: HEVC takes care of visuals free of compression artifacts while preserving film characteristics, including grain; Ultra HD resolution then provides ample room for the maximum amount of image information; HDR and WCG on top carry all the available luminance and tonal "data" and present it in a form that pockets both the original cinema projections in the days of the premiere and many films shot on digital cameras today. With Columbia Classics' new transfers of cinematic classics, we get an absolutely phenomenal spectacle.

Oliver!

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10)
• Aspect ratio 2.35:1
• Original audio in Dolby Atmos
  
• BD-100 (triple-layer UHDBD)

Do I get native 4k Ultra HD?

Yes. The same is true of most of the films in this collection: they were made at a time when digital cinema did not exist, of course, and so they were shot on classic 35mm analogue film. This has the advantage of a theoretical resolution of around 6k (depending on many aspects, of course) and is great for archiving. So the studio was able, in creating the magnificent Columbia Classics collection, to reach into the vaults for the original negatives, clean them up and thus completely restore them - and then scan them in 4k for the new master. The latter is able to combine the advantages of both old and new technology into an absolutely perfect spectacle: Native 4k extracts almost the maximum image information from the film, both in terms of detail and in terms of brightness range and colour. Ultra HD transfer then presents this information in the best possible quality: HEVC takes care of visuals free of compression artifacts while preserving film characteristics, including grain; Ultra HD resolution then provides ample room for the maximum amount of image information; HDR and WCG on top carry all the available luminance and tonal "data" and present it in a form that pockets both the original cinema projections in the days of the premiere and many films shot on digital cameras today. With Columbia Classics' new transfers of cinematic classics, we get an absolutely phenomenal spectacle.

Anatomy of a Murder

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10)
• Aspect ratio 1.85:1
• Original audio in Dolby Atmos
  
• BD-100 (triple-layer UHDBD)

Do I get native 4k Ultra HD?

Yes. The same is true of most of the films in this collection: they were made at a time when digital cinema did not exist, of course, and so they were shot on classic 35mm analogue film. This has the advantage of a theoretical resolution of around 6k (depending on many aspects, of course) and is great for archiving. So the studio was able, in creating the magnificent Columbia Classics collection, to reach into the vaults for the original negatives, clean them up and thus completely restore them - and then scan them in 4k for the new master. The latter is able to combine the advantages of both old and new technology into an absolutely perfect spectacle: Native 4k extracts almost the maximum image information from the film, both in terms of detail and in terms of brightness range and colour. Ultra HD transfer then presents this information in the best possible quality: HEVC takes care of visuals free of compression artifacts while preserving film characteristics, including grain; Ultra HD resolution then provides ample room for the maximum amount of image information; HDR and WCG on top carry all the available luminance and tonal "data" and present it in a form that pockets both the original cinema projections in the days of the premiere and many films shot on digital cameras today. With Columbia Classics' new transfers of cinematic classics, we get an absolutely phenomenal spectacle.

8x Blu-ray

• Videos in Full HD (1920 x 1080)
• Aspect raitos equivalent to UHD variants
• Original audio in high-quality formats
  
• Special features

The edition is in the form of a fold-out package, which includes a photobook with accompanying texts. The films are housed in separate black amaray boxes without slipcover in German editions. The actual photographs are from the Italian edition, the latter differing only in the lettering on the amaray. Rating sticker is a sticker, can be removed.