Star Trek: The Motion Picture (Theatrical Version/Special Longer Version/Director’s Edition): B/B-/A Why do you think on the master reveal of the bridge, all you can see is the extra’s junk slinging around in his jumpsuit? Because Wise, Kline, and Mr. Ramsay were too stupid to notice a swing crotch shot in the middle of the 65mm frame? Audio Commentary – With Michael & Denise Okuda, Judith & Garfield Reeves-Stevens, and Daren Dochterman In addition to his work on the various iterations of Star Trek: The Motion Picture, Drew’s blog Star Wars Visual Comparisons also contains a forensic analysis of the many versions of the original Star Wars trilogy. Last chance to see on the big screen

First SW movie had a problem with blue matte lines predominating and they dealt with it by (and this is a short version answer, it was more complicated than this) throwing out that color record, but that only worked because it was a spaceship, not a person already seen in non-bluescreen shots, so nobody would know whether it was supposed to read as white-grey vs. grey-blue. There will certainly be debates over “correct” color timing and lighting levels between the 2009 and the 2021/2022 editions of the original Star Trek films: each film does seem to have an issue with somewhat brighter-than-expected lighting levels, especially in space scenes, which seems to be a side effect from creating the remastered Blu-rays from 4K HDR sources. Audio Commentary by Michael & Denise Okuda, Judith & Garfield Reeves-Stevens, and Daren Dochterman (Theatrical Version only)Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. from white to gold for the opening titles, and the Golden Gate bridge establishing shot introducing Star Fleet headquarters. There are some editing processes are evident, even if the end result is nowhere near a visual atrocity. The picture looks quite good much of the time, but it could have

The first two images revealed by project producer David C. Fein at StarTrek.com show the USS Enterprise leaving orbit and the orbital office complex. According to Fein, they have been “digitally recombined with little to no loss in quality from the original negative of the elements of each shot.” NEW! Costume Tests (1080p, 4:40): Exploring motion film and still photo costume tests as well as some history on Star Trek Every environment is more sonically active. The Enterprise is full of many different sounds that really gives you the feel of being on starship, and V’Ger itself has far more of an auditory presence and feels more menacing and mysterious. Star Wars has lots of stuff behind the action but it’s not so obvious and is less front and centre. There is generally less talking and more action and the films are more visual. Star Trek V: The Final Frontier also gets a nice new presentation, with a correction to many blown-out highlights and the restoration of more natural-looking colors in a number of scenes — most notably during the Yosemite camping sequences and during the encounter with the Sha Ka Ree “god” near the end of the film. The odd blue tone disappears Uhura’s nighttime arrival in STAR TREK V. Highlights on the STAR TREK V campfire scenes are balanced out, and an odd green tone is gone.So as of this week, all 13 theatrically released Star Trek films are finally available in 4K and HDR. The latest releases also support the Dolby Atmos audio standard in addition to Dolby Vision HDR.