Mission Impossible 3 was one of the last movies I saw with my father in the theater he had contracted cancer. We saw part 2 in the theater we didn’t know who John Woo was back then we had seen one of his Hong Kong films on VHS
Really appreciate your reviews. Finally someone who gets it. You are teaching me through your reviews. I may disagree about certain transfers, but you always bring good evidence for your dissatisfactions. Keep it up.
Great info. Thanks for the review. Got it recently, most excited for the original in 4K. Agree completely about the first being the perfect mix of a smart and clever spy thriller and popcorn box office
According to some reports, the 4K transfer of American Graffitti might have lots of DNR. And it was approved by Lucas. Very atypical from Universal to DNR a transfer to this extent. When it comes to directors like Lucas, Peter Jackson, Cameron and so on, one can't help but think that the transfers of their movies would be far better if they weren't still alive (though I'm not wishing their deaths, obviously). They love DNR. For such directors, a transfer supervised and approved by them is a red flag more than anything else, which is why I fear for the rumored 4K releases of The Abyss, True Lies and Aliens.
Ripping the cinema disc only works with the foobar2000 program, converting the APT-X100 plugin (.aud) file to WAV 5.1 audio. This ensures getting bit perfect audio capture, despite the limitations of the DTS theatrical bitrate (882 kbit/s). This is the similar process to the DTS and Dolby Digital (requires the Demodulator on DD) LaserDisc audio captures from various users by using the perfect bit capture of the data such as ESI U24 XL as an audio capture with WAV2DTS (while optionally downgrade to equality perfect 1.5Mbits DTS audio; 384kbits AC-3 DD audio as it uses the sightly identical fix-rate to the theatrical bitrate). @dazavelithedon4071, That would be awesome if you archive the first three movies as the OG theatrical mixes, especially for the most important first movie's mix which is even better than the LaserDisc DD audio for almost double more bitrate and clearer quality without being too loud from the theatrical mix.
Rope (1948) and Snow White And The Seven Dwarfs (1937) might be the two greatest and most faithful three-strip Technicolor restorations of the year in UHD!
I wonder if you plan to tackle the controversial color timing of the Kagemusha and Ran UHDs. Kagemusha is the most controversial. Ran was supervised by the original cinematographer, but criticisms of teal and yellow tints remain anyway. And people can't agree. Regarding UHDs that degrain things a bit, without ever (or rarely) reaching waxy face territory, I think about the really good UHD of Alien. They definitely massaged the grain, but were also able to remain on the right side of the DNR scale, though some people nevertheless wish that it had more grain because it fits the gritty nature of the film, and the film stock it was shot on as well if I'm not mistaken. The Vertigo UHD was perhaps degrained a bit too much in spots, a few shots perhaps look a bit too smoth, but the UHD overall still managed to remain in the right side, just like Alien, and it looks really, really lovely (which is nothing less than what Vertigo deserves, it is a gorgeous movie). It also helps that it is a VistaVision film.
Well done as usual. Although I'm a life long and die hard spyguy I'm not overly fond of this series. I found the first one slightly "Rat-Packy." I did like the "interior thought" sequence, but was slightly annoyed by the Topkapi rip off / homage sequence. I agree with the rest of your comments particularly Fallout which was overcooked to the point of tedium.
DePalma homages can certainly grate on the nerves if you're a big fan of the original film. I didn't see Topkapi until later but it suddenly clicked when I did. I don't mind that one so much because they did add a number of unique elements and heightened the drama. I'm glad others feel similarly about the series. I was starting to wonder if it was just me! 5 felt like an extended lesser 4, 6 felt like a bloated lesser version of 5 and now 7 feels like an empty bloated version of 6 and its not even the full story!
Yes, like you say they : should stick with rotating directors every time, because now it's stuck with the same tone...but De Palma should have done another one, i think it's a pity he didn't ! Greetings, love the channel.
Does bitrate still matter for lossless codecs? I was under the impression that as long as the codec was truly lossless, bitrate would only represent compression efficiency, should I consider paying a bit more attention to the differing bitrates of lossless audio tracks, even those that use the same master?
They don't matter as much once something is lossless but usually indicate a higher quality standard if there's a big difference in the overall numbers or 16 bit vs 24 bit etc. It still all depends on the quality of the source and how it was mastered ultimately.
Where do you got the information from that Mission 3 also got a 4K scan? It's for sure a 2K upscale and Rogue Nation too. The Blu-Ray and the 4K Blu-Ray are based from the same 4K DI.
Crusader, talking about the overly bright pop up titles... im sure you've checked this but is your Oled screen set to maximum? I have an LG CX and one of the first things i noticed when i got it was how bright the white titles are in a dark room. They can be blinding sometimes. My filmmaker mode is calibrated but my other modes i dont go over 85 for the screen. Brightness of course is at least set to default.
In HDR, brightness should generally be set to maximum, for the TV to properly follow the PQ EOTF curve, otherwise you end up with a darker image than intended. About bright titles, it depends. Some reviewers actually mention white titles popping out with great luminance, but they speak of it as a good thing, praising the vitality and dazzling impression. Some things really just come down to taste.
I've tried doing adjustments but you do have to leave HDR at max for things to be on the correct baseline and others like Dolby Vision lock you out of adjustments. I'm just glad I figured out I could manually adjust subtitle brightness on my UB820 as subs were blindingly bright in HDR. People and companies didn't think about all the headaches in developing the technology. It's frustrating to keep running into discs that make you reach for sunglasses or jar you out of the film with a distracting bright element.
@@DamnFoolIdealisticCrusaderRight now, HDR is horribly implemented in most TVs. Only some of the premium models can deliver anything close to a full HDR experience as it is supposed to be (unless it's a grade with very high average brightness, a light-cannon, which means clipped and/or blown out highlights unless there is Dolby Vision to tame down the average brightness and make the grade easier for the TV to handle). If one wants to experience HDR exactly as it was graded in the grading room, you need a 30 thousand dollars reference monitor. I've heard that the BFI UHD of The Seventh Seal is spectacular in picture quality with the exception of the subtitles being needlessly bright, far brighter than anything else in the image. Another thing about the technology is that, with the exception of the light-cannon grade here and there (I'm talking about the ones where the image on average is very bright, not the ones that go from insanely dark to insanely bright), the vast majority of HDR gradings aren't on average really brighter than SDR if you watch SDR in its proper brightness for dark room. But the marketing misled people, who have complained about HDR being too dim to watch in daytime. This is probably why HDR won't be a thing for live TV.
I like Kittridge coming back which I’ve hoped to see for years but otherwise it felt like a bloated even less focused version of Fallout. Nothing in the film really moved me at all other than the Kittridge scenes.
Light DNR except on TMP Directors Edition. The fix they did on TMP theatrical to hide the bluescreen is awful. It blurred the shot. Why not just fix the bluescreen bleed and paint out the pylon holding up the model. The most bizarre thing is no original audio except on the Special longer version of TMP. None of the theatrical stereo mixes on 1-6 were ever included.
Hello, greetings from Santiago de Chile. My local store (Filmico) send me my 4K physical edition of "Mission: Impossible - Dead Reckoning Part One" and I watch it yesterday with my mother. I love James Bond movies and notice many references to the 007 flicks in these film. I'm not saying is carbon copy, but they are many scenes that look similar. Some bits of the sequences in Rome, Venice and specially the train climax remember me some pieces of "From Russia with Love", "Thunderball", "Goldfinger", "The Spy who Love Me", "HMSS", "Octopussy", "A View to a Kill", "License to Kill" "Tomorrow Never Dies" and "The World is not Enough". Did you find other references? Adiós, amigo.
lmao , 0:18 , this is what i would have done for some humour lol , their dud ! dud ! lol so crusader are you gonna break 'in and steal the theatrical mix suspended from the ceiling lol , i'm in who else do we need for this , rogue mission ? talk about , cash cow , miking impossible lol how does that music theme go ? dud' dud 'dud , da'da,da der , dud ' dud if properly done there be no need to release it again until the format is phased out for another format disc re brought the AC-3 owned once sold 2000 for sake of dvd , later to find out their , near field mixes picture on the laserdisc is okay not all perfect due to way video devices are looking at the film and need careful adjustment as i seen some pal laserdisc transfers of other titles , aliens looks impressive better than then THX AC-3 , for picture lots of slit lens diopter in mission impossible , which is what the director often uses not a tom cruise film , producer with his partner wagner , but directed by brian de palma ( film ) i can't be bothered to watch the other missions , the dolby atmos doesn't excite me anymore some softness in the laserdisc DNR a faint EE and often some flicker between clothing that has fine lines and its getting that to look stable as it does on 35mm when projected looks perfect but the theatrical mix is what standards out on the AC-3
Mission Impossible dead reckoning had destroyed our hearts so badly 💔💔💔😭😭😫 , Rebecca Ferguson's Ilsa Faust character that we loved for eight years is being killed off and becoming a corpse on the Venice bridge ☠️😭😭😭💔💔💔😡😡😡😡
@logicwins3492 which is why I blocked Steven Harsono for unmarking spoilers who haven't seen Dead Reckoning Part One yet. What a fool (Harsono) for having unmarked spoilers for M:I related videos. I do accept mark spoilers, but having unmarked (unless the video is spoiler filled one or place it as a sequel for the predecessor's knowedge) is just a dick move, which makes viewers not interested to watch in the first place.
Where they went too far with grading in areas causing objects or areas to be too bright or overdid the color saturation when compared to the SDR or other versions. Some films in this set fare pretty well with only certain elements having that dreaded pop out effect but one film in particular felt frequently overdone to be distracting throughout.
@@DamnFoolIdealisticCrusaderTo be honest, the limited color gamut, 8-bit color depth, and dynamic range of SDR really doesn't allow for proper contrast and representation of all the dynamic range captured in the film, and let's not forget that film has colors that go beyond even DCI-P3, into Rec. 2020. I'm not saying that Paramount couldn't have "overdone" some of those aspects, I just think it's important to keep in mind that HDR, 10-bit color depth and Rec. 2020 allow us to make a far more comprehensive presentation of the film than ever before, though the grader obviously has to be reasonable to not deviate significantly from artistic intent, especially when such deviation detracts from the movie's effect. For example, it's possible to have some pixels in the image have thousands of nits for very small highlights, or even highlights of highlights, without creating pop out effect, while making the image look fuller and more lifelike. Home media is essentially revisionism because film prints aren't as sharp as OCN. Also, the color in actual projected Technicolor prints, for example, is (if I'm not mistaken) not as bold as what we often see in the blu-rays (even WAC's blu-rays) and UHDs. Of course, not all revisionism is equal, good taste is absolutely needed. That's the point I make. In Noirvember, do you plan to review the UHD of The Maltese Falcon?
@@DamnFoolIdealisticCrusader I see this in quite a few movies I watch. I have a C1 77" calibrated and I often prefer watching movies on my jvc x9000 projector cause MadVR does such a good job with tone mapping that I prefer the duller picture on the projector
That’s a pretty good Cruise impression
@@dornravlin Thanks it’s been one of the joking ones I’ve done for years.
Mission Impossible 3 was one of the last movies I saw with my father in the theater he had contracted cancer. We saw part 2 in the theater we didn’t know who John Woo was back then we had seen one of his Hong Kong films on VHS
Spot on with this review of the boxset. I love MI1 and 2 but MI 2 will never be as good as Hard Boiled or The Killer.
Really appreciate your reviews. Finally someone who gets it. You are teaching me through your reviews. I may disagree about certain transfers, but you always bring good evidence for your dissatisfactions. Keep it up.
Great info. Thanks for the review. Got it recently, most excited for the original in 4K. Agree completely about the first being the perfect mix of a smart and clever spy thriller and popcorn box office
According to some reports, the 4K transfer of American Graffitti might have lots of DNR. And it was approved by Lucas. Very atypical from Universal to DNR a transfer to this extent.
When it comes to directors like Lucas, Peter Jackson, Cameron and so on, one can't help but think that the transfers of their movies would be far better if they weren't still alive (though I'm not wishing their deaths, obviously). They love DNR. For such directors, a transfer supervised and approved by them is a red flag more than anything else, which is why I fear for the rumored 4K releases of The Abyss, True Lies and Aliens.
The new Graffiti master is a train wreck because LFL was involved.
@@DamnFoolIdealisticCrusaderExactly.
Congratulations, you're a prophet.
I have cinema dts sound for the first 3 films , I think the discs were given out to cinemas back in the day.
I would kill to have a listen to those!
As would I!
Do you have those mixes ripped on PC or just the discs?
Ripping the cinema disc only works with the foobar2000 program, converting the APT-X100 plugin (.aud) file to WAV 5.1 audio. This ensures getting bit perfect audio capture, despite the limitations of the DTS theatrical bitrate (882 kbit/s). This is the similar process to the DTS and Dolby Digital (requires the Demodulator on DD) LaserDisc audio captures from various users by using the perfect bit capture of the data such as ESI U24 XL as an audio capture with WAV2DTS (while optionally downgrade to equality perfect 1.5Mbits DTS audio; 384kbits AC-3 DD audio as it uses the sightly identical fix-rate to the theatrical bitrate).
@dazavelithedon4071, That would be awesome if you archive the first three movies as the OG theatrical mixes, especially for the most important first movie's mix which is even better than the LaserDisc DD audio for almost double more bitrate and clearer quality without being too loud from the theatrical mix.
Suggestion for a theme in a future video: movies whose best transfers are still only available on HD-DVD.
Rope (1948) and Snow White And The Seven Dwarfs (1937) might be the two greatest and most faithful three-strip Technicolor restorations of the year in UHD!
I wonder if you plan to tackle the controversial color timing of the Kagemusha and Ran UHDs. Kagemusha is the most controversial. Ran was supervised by the original cinematographer, but criticisms of teal and yellow tints remain anyway. And people can't agree.
Regarding UHDs that degrain things a bit, without ever (or rarely) reaching waxy face territory, I think about the really good UHD of Alien. They definitely massaged the grain, but were also able to remain on the right side of the DNR scale, though some people nevertheless wish that it had more grain because it fits the gritty nature of the film, and the film stock it was shot on as well if I'm not mistaken.
The Vertigo UHD was perhaps degrained a bit too much in spots, a few shots perhaps look a bit too smoth, but the UHD overall still managed to remain in the right side, just like Alien, and it looks really, really lovely (which is nothing less than what Vertigo deserves, it is a gorgeous movie). It also helps that it is a VistaVision film.
That intro was hilarious 😂
I’m glad you liked it! I was afraid it might be too technical but glad I went for it.
It is awesome! This could be the shtick to continue using as a signature bit.
Actually, it sounds a bit like Tom - well done !
I have a habit of doing a Cruise quotes…sometimes with sunglasses on…
@@DamnFoolIdealisticCrusader Well it's very good indeed, especially the speech inflections & mannerisms !
@@marktubeie07 I try in any impression I do to get those nailed down so I really appreciate that!!
@@DamnFoolIdealisticCrusader Well deserved - superb channel you have with excellent discussion and reviews btw :)
Is the audio the same on the UK release of the 4 movie Blu ray set? It has the same artwork.
Well done as usual. Although I'm a life long and die hard spyguy I'm not overly fond of this series. I found the first one slightly "Rat-Packy." I did like the "interior thought" sequence, but was slightly annoyed by the Topkapi rip off / homage sequence. I agree with the rest of your comments particularly Fallout which was overcooked to the point of tedium.
DePalma homages can certainly grate on the nerves if you're a big fan of the original film. I didn't see Topkapi until later but it suddenly clicked when I did. I don't mind that one so much because they did add a number of unique elements and heightened the drama.
I'm glad others feel similarly about the series. I was starting to wonder if it was just me! 5 felt like an extended lesser 4, 6 felt like a bloated lesser version of 5 and now 7 feels like an empty bloated version of 6 and its not even the full story!
I haven't seen 7 yet and in no rush to do so. I'll catch up with some dark and dreary night.@@DamnFoolIdealisticCrusader
😂😂😂😂😂 I LOVE THESE INTROS!
That’s good to hear!! I spend so much time on these and wonder if people will enjoy them.
Yes, like you say they : should stick with rotating directors every time, because now it's stuck with the same tone...but De Palma should have done another one, i think it's a pity he didn't !
Greetings, love the channel.
Does bitrate still matter for lossless codecs? I was under the impression that as long as the codec was truly lossless, bitrate would only represent compression efficiency, should I consider paying a bit more attention to the differing bitrates of lossless audio tracks, even those that use the same master?
They don't matter as much once something is lossless but usually indicate a higher quality standard if there's a big difference in the overall numbers or 16 bit vs 24 bit etc. It still all depends on the quality of the source and how it was mastered ultimately.
Where do you got the information from that Mission 3 also got a 4K scan? It's for sure a 2K upscale and Rogue Nation too. The Blu-Ray and the 4K Blu-Ray are based from the same 4K DI.
Dead Reckoning was basically a love letter to De Palma's film in many ways - not saying its AS good, but I'm surprised that hasn't been recognised.
Yeah I thought so too. I think if it hadn't been for the coof forcing them to change their plans constantly we would have got an incredible movie.
@@skadooshly I still enjoyed the movie. I'd take over recent Bond efforts any day.
Great action movie and it didn't deserve to flop at the box office. It was better than John Wick 4 and better than No Time to Die.
Hi, can you please do a review of Braveheart and Gladiator 4k transfers?
Crusader, talking about the overly bright pop up titles... im sure you've checked this but is your Oled screen set to maximum? I have an LG CX and one of the first things i noticed when i got it was how bright the white titles are in a dark room. They can be blinding sometimes. My filmmaker mode is calibrated but my other modes i dont go over 85 for the screen. Brightness of course is at least set to default.
In HDR, brightness should generally be set to maximum, for the TV to properly follow the PQ EOTF curve, otherwise you end up with a darker image than intended.
About bright titles, it depends. Some reviewers actually mention white titles popping out with great luminance, but they speak of it as a good thing, praising the vitality and dazzling impression. Some things really just come down to taste.
I've tried doing adjustments but you do have to leave HDR at max for things to be on the correct baseline and others like Dolby Vision lock you out of adjustments. I'm just glad I figured out I could manually adjust subtitle brightness on my UB820 as subs were blindingly bright in HDR.
People and companies didn't think about all the headaches in developing the technology. It's frustrating to keep running into discs that make you reach for sunglasses or jar you out of the film with a distracting bright element.
@@DamnFoolIdealisticCrusaderRight now, HDR is horribly implemented in most TVs. Only some of the premium models can deliver anything close to a full HDR experience as it is supposed to be (unless it's a grade with very high average brightness, a light-cannon, which means clipped and/or blown out highlights unless there is Dolby Vision to tame down the average brightness and make the grade easier for the TV to handle). If one wants to experience HDR exactly as it was graded in the grading room, you need a 30 thousand dollars reference monitor.
I've heard that the BFI UHD of The Seventh Seal is spectacular in picture quality with the exception of the subtitles being needlessly bright, far brighter than anything else in the image.
Another thing about the technology is that, with the exception of the light-cannon grade here and there (I'm talking about the ones where the image on average is very bright, not the ones that go from insanely dark to insanely bright), the vast majority of HDR gradings aren't on average really brighter than SDR if you watch SDR in its proper brightness for dark room. But the marketing misled people, who have complained about HDR being too dim to watch in daytime. This is probably why HDR won't be a thing for live TV.
2018 or 2023 box set ? is the a difference with discs
This intro is gold. Not goof
Ha ha loved the opening!
Thanks! I hesitated at first in case it would be too nerdy but I couldn't resist doing the phone call scene too...
What did you think of Dead Reckoning Part 1?
I like Kittridge coming back which I’ve hoped to see for years but otherwise it felt like a bloated even less focused version of Fallout. Nothing in the film really moved me at all other than the Kittridge scenes.
What do you think of the new mission impossible movie
I wasn’t a fan. It felt like an expanded version of Fallout. The only highlight was the return of Kittridge.
Depending on your level of tolerance for redone special effects and matte lines, the original Star Trek movies might be Paramount's best UHD set.
They redid the special effects?
@@wright96dIf I'm not mistaken, they did some tweaks. Paramount also did it in the Indiana Jones UHDs and in The Ten Commandments UHD.
Light DNR except on TMP Directors Edition. The fix they did on TMP theatrical to hide the bluescreen is awful. It blurred the shot. Why not just fix the bluescreen bleed and paint out the pylon holding up the model. The most bizarre thing is no original audio except on the Special longer version of TMP. None of the theatrical stereo mixes on 1-6 were ever included.
Hello, greetings from Santiago de Chile. My local store (Filmico) send me my 4K physical edition of "Mission: Impossible - Dead Reckoning Part One" and I watch it yesterday with my mother. I love James Bond movies and notice many references to the 007 flicks in these film. I'm not saying is carbon copy, but they are many scenes that look similar. Some bits of the sequences in Rome, Venice and specially the train climax remember me some pieces of "From Russia with Love", "Thunderball", "Goldfinger", "The Spy who Love Me", "HMSS", "Octopussy", "A View to a Kill", "License to Kill" "Tomorrow Never Dies" and "The World is not Enough". Did you find other references? Adiós, amigo.
The Bond lifts are so prevalent in modern Cruise films that it drives me nuts and I can't unsee them!!
Wow, was Warner Home Video responsible for this botched release?
Haha I have issues with Warner but Paramount is always worse.
This is still a good release, though with issues worth mentioning. A botched release for me has to be below competent.
@@DamnFoolIdealisticCrusaderWay worse, there is no comparison really.
lmao , 0:18 , this is what i would have done for some humour lol , their dud ! dud ! lol so crusader are you gonna break 'in and steal the theatrical mix suspended from the ceiling lol , i'm in who else do we need for this , rogue mission ?
talk about , cash cow , miking impossible lol
how does that music theme go ? dud' dud 'dud , da'da,da der , dud ' dud
if properly done there be no need to release it again until the format is phased out for another format disc
re brought the AC-3 owned once sold 2000 for sake of dvd , later to find out their , near field mixes
picture on the laserdisc is okay not all perfect due to way video devices are looking at the film and need careful adjustment as i seen some pal laserdisc transfers of other titles , aliens looks impressive better than then THX AC-3 , for picture
lots of slit lens diopter in mission impossible , which is what the director often uses
not a tom cruise film , producer with his partner wagner , but directed by brian de palma ( film )
i can't be bothered to watch the other missions , the dolby atmos doesn't excite me anymore
some softness in the laserdisc DNR a faint EE and often some flicker between clothing that has fine lines and its getting that to look stable as it does on 35mm when projected looks perfect
but the theatrical mix is what standards out on the AC-3
Mission Impossible dead reckoning had destroyed our hearts so badly 💔💔💔😭😭😫 , Rebecca Ferguson's Ilsa Faust character that we loved for eight years is being killed off and becoming a corpse on the Venice bridge ☠️😭😭😭💔💔💔😡😡😡😡
Appreciate you spoiling the plot for me. Some people really have a lack of self-awareness these days 🙄
@logicwins3492 which is why I blocked Steven Harsono for unmarking spoilers who haven't seen Dead Reckoning Part One yet. What a fool (Harsono) for having unmarked spoilers for M:I related videos. I do accept mark spoilers, but having unmarked (unless the video is spoiler filled one or place it as a sequel for the predecessor's knowedge) is just a dick move, which makes viewers not interested to watch in the first place.
What does HDR is overdone mean?
Where they went too far with grading in areas causing objects or areas to be too bright or overdid the color saturation when compared to the SDR or other versions. Some films in this set fare pretty well with only certain elements having that dreaded pop out effect but one film in particular felt frequently overdone to be distracting throughout.
@@DamnFoolIdealisticCrusaderAfter seeing the overblown HDR grading from the Godfather 4K Blu Ray, I expect nothing less from Paramount being Paramount
@@DamnFoolIdealisticCrusaderTo be honest, the limited color gamut, 8-bit color depth, and dynamic range of SDR really doesn't allow for proper contrast and representation of all the dynamic range captured in the film, and let's not forget that film has colors that go beyond even DCI-P3, into Rec. 2020.
I'm not saying that Paramount couldn't have "overdone" some of those aspects, I just think it's important to keep in mind that HDR, 10-bit color depth and Rec. 2020 allow us to make a far more comprehensive presentation of the film than ever before, though the grader obviously has to be reasonable to not deviate significantly from artistic intent, especially when such deviation detracts from the movie's effect. For example, it's possible to have some pixels in the image have thousands of nits for very small highlights, or even highlights of highlights, without creating pop out effect, while making the image look fuller and more lifelike.
Home media is essentially revisionism because film prints aren't as sharp as OCN. Also, the color in actual projected Technicolor prints, for example, is (if I'm not mistaken) not as bold as what we often see in the blu-rays (even WAC's blu-rays) and UHDs. Of course, not all revisionism is equal, good taste is absolutely needed. That's the point I make.
In Noirvember, do you plan to review the UHD of The Maltese Falcon?
@@DamnFoolIdealisticCrusader I see this in quite a few movies I watch. I have a C1 77" calibrated and I often prefer watching movies on my jvc x9000 projector cause MadVR does such a good job with tone mapping that I prefer the duller picture on the projector
@@RXP91If it's not often that HDR is very unbalanced throughout the movie, I would still rather get the full HDR experience watching it in a TV.