Columbia Classics Collection Vol.3 (It Happened One Night, From Here To Eternity, To Sir, With Love, The Last Picture Show, Annie, As Good As It Gets)

Product detailed description

Contains 14 discs

7x 4k Ultra HD Blu-ray

It Happened One Night

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10, Dolby Vision)
• Aspect ratio 1.33:1
• Original audio in DTS-HD MA 2.0
• BD-100 (triple-layer UHDBD)

Do I get native 4k Ultra HD?

Yes. The same is true of all 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.

From Here To Eternity

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10 + Dolby Vision)
• Aspect ratio 1.37:1
• Original audio in Dolby Atmos
• BD-100 (triple-layer UHDBD)

Do I get native 4k Ultra HD?

Yes. The same is true of all 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.

To Sir, With Love

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10 + Dolby Vision)
• Aspect ratio 1.85:1
• Original audio in Dolby Atmos
• BD-66 (double-layer UHDBD)

Do I get native 4k Ultra HD?

Yes. The same is true of all 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 Last Picture Show - Theatrical cut

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10 + Dolby Vision)
• Aspect ratio 1.85:1
• Original audio in DTS-HD MA 2.0
• BD-66 (double-layer UHDBD)

The Last Picture Show - Director´s Cut

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10 + Dolby Vision)
• Aspect ratio 1.85:1
• Original audio in DTS-HD MA 2.0
• BD-66 (double-layer UHDBD)

Do I get native 4k Ultra HD?

Yes. The same is true of all 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.

Annie

• Video in Ultra HD (3840 x 2160)
• HDR (HDR-10 + Dolby Vision)
• 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 all 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.

As Good As It Gets

• 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 all 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.

7x Blu-ray

• Films in Full HD (1920 x 1080)
• Aspect ratios same as with UHD variants
• Original audio
• Special features
• 7th disc contains From Here To Eternity miniseries from 1979

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. Rating sticker is a sticker, can be removed.