The Alfred Hitchcock Classics Collection - 4K Blu-ray Review

Michael Scott

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The Alfred Hitchcock Classics Collection


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Movie: :5stars:
4K Video: :4.5stars:
Audio: :4.5stars:
Extras: :4.5stars:

Final Score: :4.5stars:


WARNING: THE SCORES ABOVE ARE A COMBINED SCORE FROM ALL 4 FILMS, THE INDIVIDUAL SCORES ARE CONTAINED BELOW IN THE INDIVIDUAL SECTIONS OF THE REVIEW


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Movie

With the pandemic still pounding away at theatrical box office sales (what, only 6 movies are even IN theaters right now) it means that studios are having to dig back into their catalog and release either new movies on Blu-ray, or re-release much wanted classics on 4K UHD. I say, the more the merrier, as we need a glut of 4K titles to help us get through the complete cluster bomb that is 2020, and what better way to celebrate the last ¼ of 2020 coming up then some nice Alfred Hitchcock films. This is basically a re-release of the Blu-ray version of the Alfred Hitchcock: The Classics Collection, just without North by Northwest in the bundle (which I believe is held by Warner Brothers right now), and I’ll take what I can get in these times of 4K need!

Rear Window: :5stars:
I hate to bandy the term around “perfect film” as you can usually find SOMETHING to nitpick about in a movie, which is why so few of my reviews ever have a 5 star rating. Perfection (or at least 5 star movie perfection) is something that’s so hard to attain, but Rear Window is one of the FEW films that does. Not only is it about as close to a perfect film as you can get, it is one of Hitchcock’s best thrillers, and his most perfect family thriller. I remember watching this in grade school during a film critique class and it blew my mind. There was nothing gory and 1980s slasher to it at all, yet it was creepy, terrifying (to a 12 year old kid in the early 90s) and still accessible to people of all ages. It got me on an Alfred Hitchcock bender, with me bugging my dad to go rent a new VHS tape during Saturday family movie nights, and exposing myself to more and more of his catalog (although I was forbidden to see Psycho, due to the R rating, until I was older). Now some 25+ years later, I still think of it as the perfect Hitchcock cock, and one of the best thrillers of all time.

Rear Window is the perfect tease thriller. It sets us up with L.B. Jeffries (Jimmy Stewart) suffering from a broken leg (full leg cast) in his apartment during a heatwave. It’s been 7 weeks of him doing nothing but sitting around and watching his neighbor’s lives unfold around him. 7 weeks of boredom, and 1 more week till he can get that dreaded cast of his leg and get back to his job as a photographer. The only people to keep him company are his house keeper Stella (Thelma Ritter) and Lisa Fremont (Grace Kelly), who is WAAAAAAAAYYY out of his league.

Nothing turns to more nothing, until it doesn’t, as L.B. suddenly sees something that he thinks he shouldn’t. The couple across the way who fight and argue (and have affairs with younger men) seem to not be fighting. In fact, the wife doesn’t seem to be there at all anymore, which is completely foreign to the last few weeks of observation. The husband is intent on scrubbing walls, walking downstairs in the middle of the night with a bag, and walking around with saws and other devices. L.B. is CERTAIN that he’s murdered the woman, but he has no proof. Lisa and Stella think that he’s creating mountains out of mole hills, or going slightly stir crazy, but L.B. is insistent that the wife is dead. Each day he watches, and each day he finds something new and suspicious to ruminate over, leading him to finally doing something about it, even if he can’t move from his apartment with that cast on.

Rear Window is simply as perfect as you can get. The pacing is phenomenal, and the cinematography out of this world. The scene where the doctor turns his head to face the lens of J.B.’s camera is an iconic shot that is hard to beat, and lets not forget Grace Kelly. Her sort of cute and sultry foil to J.B.’s harsh and cynical nature make the couple’s explorations of murder together so much fun. The film still manages to thrill and excite some 66 years later, and is STILL one of my absolute favorite Jimmy Stewart films.

Vertigo: :4.5stars:
Vertigo was a film that wasn’t appreciated in it’s time, coming only 4 years after Rear Window, and reuniting Hitchcock and Jimmy Stewart once again. Audiences were excited by the film by all reports, but it was met with lackluster success, as fans wanted a reboot of Rear Window and was put off by the pacing of the film. It wasn’t until the theatrical re-release in 1983 that it gained it’s cult status, as 25 years break seemed to have created a new fanbase for the film. I never saw the movie until I was in my mid teens, some years after I had started my Hitchcock binge that started with Rear Window, but I also wasn’t wildly impressed with it at that age. It took me almost 15 years when I re-watched the film back in the 2013 Blu-ray set and realized just how excellent the film really is. The pacing is much slower, the filming dreamier, yet the tension is not nearly so high. It acts as a great mystery, but is not as “intense” as people (my original self included) were wanting.

Did he train you!? Did he rehearse you? Did he tell you what do do and what to say? These words mark the very end of Vertigo as Jimmy Stewart’s John Ferguson cries out in agony as he confronts a woman who doesn’t exist. A woman who was trained to impersonate the real love of his life. However, it’s not just agony for John, Kim Novak’s Madeline has fallen in love with the man she was meant to defraud, only to have both of their love torn out from underneath them with the deception. While spoiling the ending may seem like a bad move, it really isn’t, as the reveal is not the real guts of the film, but rather the journey of the two characters as they twist and twine their way through a complex game of cat and mouse.

Hitchcock is always known as using the same cool and icy women for his movies. If you’ve watched over the years it’s a pretty obvious trait. They’re all blonde, icy cold emotionally, and classically beautiful to the point of painfulness. Vertigo is an outward confessional of that sort of mindset, with Kim’s character being the quintessential of all traits, and John Ferguson being the weak man who falls for the facade of her character. He’s physically weak with back issues, has a fear of heights, and he has fallen in love with an image of a woman. But not just ANY woman, he’s fallen in love with a woman that he soon meets and doesn’t recognize. He molds her, shapes her, and crafts her into the mental image that he had created until he has what he wants, and then watches as it’s all torn away as it’s revealed that Madeline is actually hired to impersonate the woman he “loves” in the picture and is involved with a murder plot that he has no idea of.

Vertigo is a moral dilemma of a film, showing us the similarities and nuances of John’s control of Madeline, and the man behind the scenes who has put her in his path and torn his heart asunder. It’s almost painting a “horror” image of pain and suffering as three men lust after the mental images of two women, each trying to manipulate and mold them into what they want, and essentially creating their own warped fantasies. It’s probably this sort of emotional introspection that made Vertigo a failure back in 1958, but also what makes it one of his most impressive films, allowing it to be placed in the top 5 of his life time achievements during the 1980s when his resurgence was abounding.

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Psycho: :5stars:
Ah yes, while Rear Window is a perfect film, it shares that podium with another of Hitchcock’s greatest works, Psycho. Psycho is near and dear to my heart as it is essentially the grandfather of all slasher films. Yes, I know filml like Peeping Tom came out the same year (which ironically killed the film makers career while Hitchcock’s career soared), and yes I know Halloween and Nightmare on Elm Street kickstarted the 80s slasher binge, but they all borrowed VERY heavily from Psycho (and it’s sequels). It’s terrifying, creepy, and created a villain who has been iconicized for decades and has had spinoffs and TV shows created about him ad nausea. It was HERE that we can see the groundwork for the knife wielding maniac, and here that we see the entire framework that the 1980s horror genre would be known for.

What makes Psycho such and engaging film is the amount of misdirection and setup that Alfred uses in the film. We don’t see the quintessential killer till half an hour into the film, and we don’t even see the infamous murder (we’ve all see it, seen parodies of it, or just memes about it) till 20 minutes later. Slasher movies that took the themes of Psycho would go straight for the jugular (so to speak), but Hitchcock would tease the audience, getting us involved in the story of two people coming to a motel, and then watching us bond with Anthony Perkins’ Norman Bates, and then pull the rug out from under us as we try to figure out who the killer is. While everyone KNOWS who the “real” killer is and what the twist is from countless pop culture references ,I’ll keep that a secret for those few poor people who have never seen the film.

People have said over the years that Alfred Hitchcock was a controlling man towards women, and many of the female stars of his productions have attested to that iron fisted controlling nature of his. He has a tendency to star icy cool blondes, with a long legs and Eva Gabor esque figures. Here it is almost a confession of his sadistic views on females, as he creates the lead blonde with all of the typical qualities, but instead of being aloof and arrogant, she is introverted and furtively scared, culminating int a murder scene that was incredibly shocking for the 1960 era. Even watching it some 60 years later you can see why it shocked and horrified audience members. It may not show the gore and special effects of today, but it was a BRUTAL and terrifying assault on the lead character, and for those not accustomed (or desensitized really) to the more modern takes on death scenes, it would be quite the shocker.

Somehow, even though films like Peeping Tom were repelled by audience and critics, Psycho became Hitchcock’s biggest blockbuster at the time, and shot him to superstardom. People couldn’t get enough of the subversive horror movie, and it has rightfully been called the grand daddy of all slasher films with it’s vicious kill sequences, and an absolutely legendary performance by Anthony Perkins (who would be altered into a much different character in the sequels, which played more to the 70s and 80s horror genre which they were a part of instead of the Hitchcockian tale that we have here).

The Birds: :5stars:
1963’s The Birds would mark another massive success for the iconic film maker, this time deviating from his take on monsters. Usually Hitchcock was obsessed with human monsters, murderers who twist and stab, people who manipulate and control. He had stayed away from the monster movies of the 1940s and the sci-fi of the 1950s, but decided in the 1960s that he wanted to take his own stab at the genre. In a way The Birds takes from both genres, pulling a monster movie about birds (as ludicrous as that sounds) from the past and blending it with the “nature strikes back” mantra of the 1950s Science fiction world. It’s creepy, viscerally terrifying at times, and has one of the most ambiguously terrifying ends out of all the Hitchcock films.

The Birds really isn’t even that brutal of a film. The horror is not in the birds attacking (the split screen overlays are kind of humorous in today’s world of special effects), but rather in WHY they are attacking. The suspense of them pounding through a door, and the crazed feeling of terror and hopelessness that it creates when the humans realize there is no where to go. With the creatures of the air all going crazy in this little coastal town, it’s almost like a zombie flick. There the humans are almost dead and the UNDEAD outnumber the humans a million to one. Here the creatures of the sky have always outnumbered us in staggering percentages, and now for some inexplicable reason creatures we thought of as innocent and simple are attacking at will.

Hitchcock originally wanted Grace Kelly (of Rear Window) and Carey Grant (that would have been a mix) for the film, but due to budget concerns and casting schedules he had to use Tippi Hedren and Ron Taylor, both of whom do excellent in their respective rolls. And while there are some great performances and some ethical questions that get raised, it’s really the ending that makes the film so incredibly disturbing. There’s a sense of ambiguity to it that’s unnerving, as the survivors make their way to the car. Is the assault over? Will they actually surviving in this new world? Or has a sense of balance and compromise been struck? That last one seems to resonate the most with the themes of the film, especially with the idea that “nature is striking back” due to the imbalance of humans and animal relations. However, that not knowing is part of the allure of the ending and what makes it so thought provoking. It’s been discussed over the years and theories have been raised as to what Hitchcock meant with the ending, but really, it is probably his most “leave it up to the audience” endings of his entire career, and a great change of pace for those used to his normal film making style.




Rated PG by the MPAA (Rear Window, Vertigo) / Rated PG-13 by the MPAA (The Birds) / Rated R by the MPAA (Psycho)




Video: :4.5stars:
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Rear Window: :4stars:
Rear Window was a GOOD Blu-ray, but never a great one back in 2014. It had some color issues, some tonal issues, and some compression issues in my opinion, all of which seem to have been addressed in the new 4K UHD rendition. I’m not sure if this is using a brand new master or not, but the difference is rather impressive, and is mostly done with the use of judicious HDR grading that really allows the warm colors to pop in ways that was “odd” in the Blu-ray. Colors are less flashy and garish, and more finely tuned and accurate looking, leaving it with a more dim looking image, but not one that looks overly dark. The over brightening and over saturation of the colors was something that ground my gears just a bit on the 2014 disc, and watching this 4K presentation is almost revelationary, just due to the colors alone.

However, texturally speaking, the differences are not nearly as shocking. There are definite increases in clarity and fine detail, but Rear Window has always been a soft looking film and it still looks a little soft. Grain is abundant and well done, but comparing the Blu-ray vs. The 4K UHD in terms of appreciable detail upgrade is pretty moot. I mean, there ARE more details on his cast, as well as the apartment, but the whole “stage production” feel of the set doesn’t lend itself towards massive amounts of detail. That being said, the whole color change and the tightening of the entire picture makes it a worthy upgrade in my opinion.

Vertigo: :4.5stars:
Wowza, the difference between the Blu-ray and the 4K UHD disc here is absolutely staggering. The old Blu-ray was “good” like Rear Window, but problematic in some ways. The 4K UHD is like a breathe of fresh air and probably marks the finest looking of all the 4 discs in this set. The colors are rich and rewarding, tightening the image’s focus just a little bit, and getting rid of the smearing and crush that the Blu-ray had, especially in some of the dreamier moments such as the green neon sign scene, or the crush that was present up in the church tower. The fine details are quite impressive, and the film has NEVER looked this sharp and pristine (at least from my eyes, as I’ve never seen the film in it’s theatrical glory). Blacks are deep and inky and while there’s a few milky looking daylight sequences, the detail is just all around outstanding. The disc is all around darker than the Blu-ray, but the HDR colors and the excellent detail make this a truly no brainer upgrade.

Psycho: :4.5stars:
Psycho also enjoys a brand new remaster, and was the only one out of the 4 to receive a stand alone re-release on Blu-ray as well, which is also remastered for it’s 60th Anniversary (which is a nice upgrade over the already good nearly decade old Blu-ray), and it is well worth the upgrade too. The Black and white photography has never looked this good, with stunning amounts of detail levels that no Blu-ray is capable of. The different shades of black show so much nuance and texture, with the shower scene being almost photo realistic in nature compared to how shadowy it has always been. The HDR really improves the depth of the grayscale and allows for so much more detail to be seen than I’ve ever seen. The old Blu-ray was known to be excellent, but after A/Bing the new discs together it’s blatantly obvious that the 4K UHD disc is much better.

The Birds: :4stars:
The opening of the 4K UHD is quite nice, but shows some severe black crush, some dimming, and sort of soft look that is shockingly different than the other 3 films in the set. HOWEVER, this is actually a good thing, as the Blu-ray for The Birds was one of the most grungy pieces of mediocre “meh” that I had seen. This 4K UHD may not be perfection, but it is a GOOD disc that is absolutely light years ahead of the Blu-ray. The HDR really expands the color range, giving us more vibrant primary shades and deeper blacks that don’t crush nearly as bad. That being said, there are some limitations. The film has a ton of optical effects for the birds, and the blending of those effects is not always done that well. Part of that is due to the film source, and part is due to the new resolution showing off some of the flaws. There’s a few instances of color banding as well that get problematic in the dark. That being said, the disc shows off more detail, more color replication, and a much more finely tuned image than the Blu-ray. Hands down worth getting just for this disc alone ,as the old Blu-ray looks no better than a DVD.





Audio: :4.5stars:
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Rear Window: :4.5stars:
Two of the discs in this set got new DTS:X upgrades, and two of the discs stuck with the 2.0 DTS-HD MA tracks of the Blu-ray. This is one of those two that stuck with the 2.0 track. In reality I wouldn’t have it any other way, as the 2.0 theatrical mix being upgraded to Dolby Atmos or DTS:X would have been overkill. Even upgrading 5.1 mixes to Atmos/DTS:X is controversial, but changing a 2.0 mix to a next gen track is basically making it something it’s not. Especially when the 2.0 track is so fantastic to begin. It may not be a wild action mix, but the 2.0 DTS-HD MA track is vibrant and full of life, with strong dialog, great channel separation in the front of the room, and a thrilling score. There’s no signs of distortion or hisses throughout, and outside of the 2.0 nature of the track, could be mistaken for being recorded yesterday.

Vertigo: :4.5stars:
Vertigo was one of the two with a DTS:X upgrade and it’s quite the audio track. It’s not that much different than the 5.1 mix, but there are some neat nuances here and there that make use of the DTS:X abilities. The opening score with the credits are probably the highlight of the sound track, giving it a very robust and expansive feel with sound emanating from the surrounds, the rears, and even overhead in one of the best musically enveloping scenes in the film. It slows down a bit with a more front heavy mix, but the surrounds and low end get some good activity later on, especially with the bell ringing at the end and a few other choice sequences. Low end is a bit soft and never mixed as hot as we’re used to today, but it’s a very impressive track that slightly edges out the DTS-HD MA 5.1 mix found on the Blu-ray.

Psycho: :4.5stars:
Psycho also got the 5.1 to DTS:X upgrade, but don’t be expecting it to revolutionize the audio mix. This is a mostly front heavy flick with a few ambient moments to bring you into the middle of it. That being said, it’s not a bad mix and it probably is on par with the 5.1 mix. There’s a few subtle uses of the score in the rear of the room, but I really didn’t hear any major overhead usage, and the channel separation is very similar to said 5.1 mix. Basically, the track has always been a front heavy mix with an emphasis on dialog, and outside of a few subtle tweaks, it’s not going to really sound that much different than the previous mix. Good to have, a great sounding mix, but it’s not going to be something it’s not.

The Birds: :4stars:
The Birds was the 2nd of the two films to keep it’s original 2.0 mix, and that track still sounds as good today as it did 6 or 7 years ago. The track is incredibly crisp and clear, with no sounds of distortion, hisses, pops or other abnormalities found in older recorded mixes. There’s a little bit of a thin feeling to the mix, and the dialog is a bit treble happy, but overall the mix is very stable and faithful replication of the 2.0 experience .








Extras: :4.5stars:
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Rear Window
• Audio Commentary with Author John Farwell
• Rear Window Ethics: Remembering and Restoring a Hitchcock Classic
• Masters of Cinema
• A Conversation with Screenwriter John Michael Hayes
• Pure Cinema: Through the Eyes of the Master
• Breaking Barriers: The Sound of Hitchcock
• Hitchcock-Truffaut Interview Excerpts
• Production Photographs
• Theatrical and Re-Release Trailers


Vertigo
• Audio Commentary
• Obsessed with Vertigo: New Life for Hitchcock's Masterpiece
• Partners in Crime: Hitchcock's Collaborations
• Hitchcock and Truffaut Interview Excerpts
• 100 Years of Universal: The Lew Wasserman Era
• Foreign Censorship Ending
• The Vertigo Archives
• Theatrical and Restoration Trailers

Psycho
• The Making of Psycho
• Psycho
Sound
• In the Master's Shadow: Hitchcock's Legacy
• Hitchcock/Truffaut
Newsreel Footage: The Release of Psycho'
The Shower Scene
• The Shower Scene: Storyboards by Saul Bass
Psycho Archives
• Posters and Psycho Ads
• Lobby Cards


The Birds
The Birds: Hitchcock's Monster Movie
• All About The Birds
• Hitchcock-Truffaut Interview Excerpts
• Deleted Scene and Original Ending
• Storyboards
• Tippi Hedren's Screen Test
• 100 Years of Universal: Restoring the Classics
• 100 Years of Universal: The Lot
• The Birds is Coming
• Suspense Story: National Press Club Hears Hitchcock
• Production Photographs
• Theatrical Trailer








Final Score: :4.5stars:


As usual, Universal has cherry picked the “best” and most popular films from the giant Hitchcock boxset to upgrade to 4K UHD this go around. While I would have LOVED a full 4K UHD set of the massive 20+ film set, I do realize that re-doing masters and encodes takes a lot of time and money, so I’m more than happy with these four for the time being. The new encodes in 4K HD are quite nice, each one showing very appreciable upgrades from the Blu-rays, and the new DTS:X audio mixes on Vertigo and Psycho are a treat. MY ONLY complain from this boxset is about the packaging. For years Universal has used the cardboard “sleeve” method of holding in discs for the set. This has always been rather controversial as many people get scratched discs from sliding them in and of the cardboard sleeve (The Mummy Trilogy debacle comes to mind) and I’ve always been rather disillusioned with that sort of packaging. This set has SUPER tight grips on the discs and I had to actually slide them across the cardboard sleeve rather heavily to get them out. Luckily none of the discs are damaged, but it still makes me wonder why a dual 4 disc Viva elite or Vortex case could not be done. Either way, it’s just a minor gripe and one that can be fixed with a spare case or so. Great set, great video, and a replication of the extras found on the Blu-rays (even the 4K UHD discs have the extras on board, or at least most of them, with the re st being found on the Blu-rays.


Technical Specifications:

Starring: Jimmy Stewart, Kim Novak, Grace Kelly, Tippi Hedner, Vera Miles, Anthony Perkins, Janet Leigh
Directed by: Alfred Hitchcock
Written by: John Michael Hayes / Alec Coppel, Samuel A. Taylor / Joseph Stefano / Evan Hunter
Aspect Ratio: 1.66:1 AVC / 1.85:1 / 1.85:1 / 1.85:1
Audio:

Rear Window
English: DTS-HD Master Audio 2.0
French: DTS 2.0 Mono
Spanish: DTS 2.0 Mono
Vertigo
English: DTS:X
English: DTS 2.0 Mono
French: DTS 2.0 Mono
Spanish: DTS 2.0 Mono
Psycho
English: DTS:X
English: DTS 2.0 Mono
French: DTS 2.0 Mono
Spanish: DTS 2.0 Mono
The Birds
English: DTS-HD Master Audio 2.0 Mono
French: DTS 2.0 Mono
Portuguese: DTS 2.0 Mono
Spanish: DTS 2.0 Mono
Japanese: DTS 2.0
Subtitles: English SDH, French, Japanese, Portuguese, Spanish (Japanese and Portuguese is only on The Birds)
Studio: Universal
Rated: PG (Vertigo, Rear Window) / PG-13 (The Birds) / R (Psycho)
Runtime
: 113 Minutes / 129 Minutes / 109 Minutes / 119 Minutes
Blu-ray Release Date: September 8th, 2020

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Recommendation: Highly Recommended


 

Todd Anderson

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Great review! This looks like a killer release!
 

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I will buy this one. I saw Psycho 2 the other day and it was very nostalgic since I watch it over and over as a kid. I was thinking on getting the Psycho 60th Anniversary bluray but I should get this one instead.
Thank you for the review :)
 

tripplej

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Thanks for the review. All great classic movies. A must own for those who don't have already. :)
 

Michael Scott

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I will buy this one. I saw Psycho 2 the other day and it was very nostalgic since I watch it over and over as a kid. I was thinking on getting the Psycho 60th Anniversary bluray but I should get this one instead.
Thank you for the review :)
yeah, the other 3 films in the collection are classics too, and the price isn't bad, so why not. The new remastered Blu-ray is IN the 4K UHD set as the "combo disc" part of the set, so you get it too.

and yeah, Psycho 2 actually wasn't bad. It wasn't till the 3rd and 4th one where they went 80s cheese
 

Asere

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yeah, the other 3 films in the collection are classics too, and the price isn't bad, so why not. The new remastered Blu-ray is IN the 4K UHD set as the "combo disc" part of the set, so you get it too.

and yeah, Psycho 2 actually wasn't bad. It wasn't till the 3rd and 4th one where they went 80s cheese
The Birds is really good too. I don't remember if I've seen Rear Window or Vertigo. I did see one just can't remember which one, heck maybe I've seen both lol. I will revisit those two for sure.
 

Michael Scott

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The Birds is really good too. I don't remember if I've seen Rear Window or Vertigo. I did see one just can't remember which one, heck maybe I've seen both lol. I will revisit those two for sure.
Rear Window is a bonafide classic on par with Psycho , just in the mystery/thriller category vs. horror. Vertigo is excellent as well, but it's a much more esoteric and dreamlike film. Still an amazing film though
 

Asere

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Rear Window is a bonafide classic on par with Psycho , just in the mystery/thriller category vs. horror. Vertigo is excellent as well, but it's a much more esoteric and dreamlike film. Still an amazing film though
Is North by Northwest the one that has the airplane flying over the field? If so that's the one I've seen.
 
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Michael Scott

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Is North by Northwest the one that has the airplane flying over the field? If so that's the one I've seen.
yes, that's the one that was in the Blu-ray Classics set, but Warner Brothers has the rights to that one, so Uni didn't release it in this set.
 

Todd Anderson

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Mike, is this a must-have upgrade over the Hitchcock bluray set released a year (or so) ago?
 

Michael Scott

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Mike, is this a must-have upgrade over the Hitchcock bluray set released a year (or so) ago?
while I would have liked that they did the full 15 films for the massive set in 4K UHD, but yes, these 4 titles are head and shoulders above their Blu-ray releases. The Birds is so far ahead of it's Blu-ray it's not even funny, the same with Vertigo. Pyscho is a great Blu-ray, but the 4K is a NICE increase. Rear Window isnt MASSIVE in terms of detail, but the colors were off in the Blu-ray and the 4K HDR really fixes all those issues and it is a whole different experience. Soooooooo, yes, it is a very good upgrade in all films
 
Last edited:

Todd Anderson

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No. No. No.
You’re NOT supposed to be saying these things! :spend:
 

thrillcat

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I finally picked this up. Ripped them onto my server and we watched Rear Window last night.
The files are huge, compared to many reference discs, and nitrates to match. Each of these files is right around 80GB for the main title. Most UHD files come to 40-60GB for a two-ish hour movie. The Deer Hunter is about 90GB, but it’s also 3 hours.

Plex logs for reference.
 

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Todd Anderson

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How big is your server?!?
 

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That is a massive server... wow! You gonna end up needing a dedicated server room with an A/C to keep it cooled.
 

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I can do Rear Window and Vertigo, but The Birds and Psycho... I just can't get thru those movies. When I was a kid they were fun, but there is just nothing there to interest me any longer. I bet the 4K does make them more interesting. It appears they really went all out to make them worth it.
 

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That is a massive server... wow! You gonna end up needing a dedicated server room with an A/C to keep it cooled.
I keep it in a closet in the basement for now, it stays pretty cool.
 

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I can do Rear Window and Vertigo, but The Birds and Psycho... I just can't get thru those movies. When I was a kid they were fun, but there is just nothing there to interest me any longer. I bet the 4K does make them more interesting. It appears they really went all out to make them worth it.
I love Vertigo. Rear Window is great. Psycho is fine. I’ve actually never seen the Birds.
 

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That is a massive server... wow! You gonna end up needing a dedicated server room with an A/C to keep it cooled.
Here’s the machine. Windows runs on an internal SSD. The 8 drive bays in the Dell unit are the TV Shows and DVR RAID. Down below the power and above the printer is another 8-bay external SAS drive enclosure, which currently has 4x10TB drives in RAID5 for movies, and I’m planning to put in another 4x10TB drives to mirror that to. Just in case.
 

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tripplej

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thrillcat

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Very nice HTPC. One day, I would like to have one as well. Just don't know where to start.. :)
PLEX Server only. The theater plays off an Nvidia Shield Pro and the rest of the house is running Apple TV’s.
I’m a Mac guy, a friend built the server for me and I just ripped my content onto it.
 

tripplej

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nice. Glad you had a friend to do the heavy lifting. :)

I need a friend like that. lol. :)
 
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