UHD Blu-ray movies – Source & Master format (DI) database
Below is the list of Source and Master format information collected from IMDb, which should give clearer insight what is behing UHD Blu-ray movies offered on the market today. The logic is simple – for best UHD Blu-ray quality movie must be shot in resolution that is 4K or higher and master format needs to be done in 4K as well. In case of movies shot on film, digital intermediate (DI) must be done in 4K or higher resolution. If DI/Master format is 2K, it means that upscaling is done in order to create final UHD content (2048×1080 -> 3840×2160). Despite sophisticated upscaling techniques, upscaling is never good and cannot match to non-scaled or down-scaled content. If movie is shot in 4K and DI is done in 4K, this means that slight downscaling is done to get original UHD material (4096×2160 -> 3840×2160), which will give sharper image which is superior to standard Blu-ray or 1080p streaming.
| Movie | Year | Cover | Source format | Master format (DI) | Aspect ratio | Review score (max. 5) |
|---|---|---|---|---|---|---|
| Deadpool | 2016 |  | 3.4K ARRIRAW | 4K | 2.35:1 | 4.5 |
| The Revenant | 2015 |  | 6.5K/3.4K ARRIRAW Some scenes: 6K Redcode RAW Panavision (anamorphic) (source format) (some scenes) | 4K | 2.35:1 | 4 |
| The Smurfs 2 | 2013 |  | 4K Sony F65 RAW | 4K | 1.85:1 | 3.5 |
| The Amazing Spider-Man 2 | 2014 |  | Panavision (anamorphic) | 4K | 2.35:1 | 4.5 |
| Chappie | 2015 |  | Redcode RAW Panavision (anamorphic) | 4K | 2.35:1 | 4 |
| The Last Witch Hunter | 2015 |  | 3.4K ARRIRAW Panavision (anamorphic) | 4K | 2.35:1 | 2.5 |
| Hancock | 2008 |  | Super 35 | 4K | 2.35:1 | 4 |
| Salt | 2010 |  | Super 35 (35 mm - Kodak Vision2 200T 5217, Vision3 500T 5219) | 4K | 2.35:1 | 4 |
| The Maze Runner | 2014 |  | 2.8K ARRIRAW (2.8K) Visual effects: Redcode RAW (5K) Some shots: CineForm RAW (2K) | 4K | 2.35:1 | 4 |
| The Expendables 3 | 2014 |  | 4K/5K Redcode RAW | 4K | 2.35:1 | 2.5 |
| The Maze Runner: The Scorch Trials | 2015 |  | 3.4K ARRIRAW | 2K | 2.35:1 | 3.5 |
| Exodus: Gods and Kings | 2014 |  | 5K Redcode RAW (dual-strip 3-D) | 2K | 2.35:1 | 3 |
| The Martian | 2015 |  | 6K Redcode RAW (also dual-strip 3-D) 4K H.264 (some shots) | 2K | 2.35:1 | 4 |
| Kingsman: The Secret Service | 2014 |  | 3.4K ARRIRAW Hawk Scope (anamorphic) | 2K | 2.35:1 | 4 |
| Hitman Agent 47 - Ultra HD Blu-ray | 2015 |  | 3.4K/2.8K ARRIRAW Master Scope (anamorphic) | 2K | 2.35:1 | 3.5 |
| Wild | 2014 |  | 2.8K ARRIRAW | 2K | 2.35:1 | 3 |
| Mad Max: Fury Road | 2015 |  | 2.8K - ARRIRAW ProRes 4:2:2 (1080p/24) | 2K | 2.35:1 | 4 |
| San Andreas | 2015 |  | 3.4K ARRIRAW Panavision (anamorphic) | 2K | 2.35:1 | 4 |
| X-Men: Days of Future Past | 2014 |  | 2.8K ARRIRAW Some shots: Spherical (16 mm footage) Super 8 | 2K | 2.35:1 | 4.5 |
| Pan | 2015 |  | 5K Redcode RAW 3.4K ARRIRAW Panavision (anamorphic) | 2K | 2.35:1 | 3.5 |
| The Peanuts Movie | 2015 |  | / | 2K | 1.85:1 | 4 |
| Concussion | 2015 |  | 3.4K ARRIRAW | 2K | 2.35:1 | 3 |
| Life of Pi | 2012 |  | 2.8K ARRIRAW | 2K | 1.85 : 1 Some scenes: 1.33 : 1 2.00 : 1 2.35 : 1 | 4.5 |
| The Lego Movie | 2014 |  | 2.8K ARRIRAW | 2K | 2.35:1 | 4 |
| Ender's Game | 2013 |  | 5K Redcode RAW | 2K | 2.35:1 | 3.5 |
| Pineapple Express | 2008 |  | Super 35 (3-perf) | 2K | 2.35:1 | 4.5 |
| Fantastic 4 | 2015 |  | 3.4k/2.8K ARRIRAW | 2K | 2.35:1 | 3 |
| The 5th Wave | 2016 |  | Panavision (anamorphic) | 2K | 2.35:1 | 3.5 |
| Journey to Space | 2015 |  | IMAX, different film formats | Unknown (2K?) | 1.78:1 | 3 |
| Point Break | 2015 |  | 6K Redcode RAW 2.8K ARRIRAW | 2K | 2.35:1 | 2.5 |
| Joy | 2015 |  | Super 35 (3-perf) | 2K | 1.85:1 | 3.5 |
| Risen | 2016 |  | ARRI ALEXA | 2K | 2.35:1 | 4 |
| Gods of Egypt | 2016 |  | 6K Redcode RAW | 2K | 2.35:1 | 3 |
Key advantages of Ultra HD Blu-ray vs. standard Blu-ray
Ultra HD Blu-ray brings higher native resolution (4 times higher), more colors (approx. 35% more in case of DCI-P3 compared to Rec.709), smoother gradations (10-bit precision), HDR (better picture dynamics) and more advanced compression (HEVC).
Due to variations of source formats and finishing processes, we strongly recommend that before buying any UHD Blu-ray release you check reviews from trusted websites like:
What is 4K?
4K resolution, also called 4K, refers to a display device or content having horizontal resolution on the order of 4,000 pixels. Several4K resolutions exist in the fields of digital television and digital cinematography. In the movie projection industry, Digital Cinema Initiatives (DCI) is the dominant 4K standard. More on Wikipedia >>
What is Digital Intermediate?
Digital intermediate (typically abbreviated to DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. More on Wikipedia >>
What id DCI-P3?
The DCI P3 Color Space is an RGB color space that was introduced in 2007 by the SMPTE. The color space features a color gamut that is much wider than sRGB. All Digital Cinema Projectors are capable of displaying the DCI P3 color space in its entirety. More on Noteloop >>
What is HEVC?
High Efficiency Video Coding (HEVC), also known as H.265, is a video compression standard, one of several potential successors to the widely used AVC (H.264 or MPEG-4 Part 10). In comparison to AVC, HEVC offers about double the data compression ratio at the same level of video quality, or substantially improved video quality at the same bit rate. It supports resolutions up to 8192×4320, including 8K UHD. More on Wikipedia >>
What is HDR?
HDR is a way of displaying the wider dynamic range inherent in the original capture of content. More on AVForums >>
Useful links:
- ShotOnWhat?
- Evolution of Digital Intermediate
- IMDb
- 20 Years of Movie Titles were filmed in 4K and nobody bothered to save them