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  1. As far as I can tell it’s the default HDR option for Xbox games now. If all they’re doing is tagging the output image as a 1000nit Dolby Vision signal then it shouldn’t really require anything on the dev side, if your TV has support for Dolby Vision then it already knows how to display an image to that spec.
  2. Kane & Lynch 2 remains the only high profile swing in this direction I can remember, personally I thought it looked great but clearly nobody else agreed. Extreme clarity in games is a dead end, it's not how we think about 'good' photography, cinematography or even VFX and now we've reached the fork in the road where pixels are all but imperceptible I think we'll finally start to see developers follow. It does seem like there will always be a contingent of (mainly PC) players who insist on being able to disable any and all post-processing effects, though.
  3. I had the exact same thought when watching the Digital Foundry breakdown of Crysis 2, even through the YouTube stream. I’m currently playing the Alan Wake remaster and it’s the same; very sharp, very clean, but it’s completely lost the ‘texture’ of the original game. There’s a film grain toggle in the picture options but at 4k it’s completely imperceptible, they clearly haven’t scaled the size of the grain in tandem with the resolution bump. DF regards both these remasters as big improvements but aesthetically I’m really not sure I agree. I feel like we’re overdue a rethink of how updates are approached for 3D games, similar to how we have various CRT-emulating filters for old sprite-based games. The recent Quake remaster got it right, you can play that in big fat chunky 320x240 pixel-o-vision and it feels so much more appropriate for the art style, even with all the other modern effects turned on.
  4. The Writer is much better than The Signal, and offers the canon ending which leads into American Nightmare.
  5. Very true, but I’ve always kinda seen that as Remedy’s ‘thing’. Max Payne was the same; a single, satisfying mechanic rinsed endlessly for a whole game. Control does have more variety (both powers and enemy types) but Launch is clearly the ‘Remedy’ mechanic they honed to perfection. For me it’s biggest flaw of Quantum Break, which also offers a whole bunch of fun powers but none which seem quite so perfect.
  6. Yeah, I always felt the controls were perfectly tuned. That slight bit of slow-mo you get for a perfectly timed dodge, a squeeze of the torch ‘trigger’ or pulling a flare. It’s a rock solid crowd control game. They did sharpen it all up a bit for American Nightmare but not in a significant enough way to detract from the original.
  7. I think a ‘proper’ remaster of the original MGS would be fascinating. Not a Twin-Snakes style reimagining, no first person aiming or anything like that, just old school pac-man stealth gameplay with a lavish graphical overhaul. For it to truly work and not break the game they’d also have to resist the temptation to add third person camera control, which would have everyone whinging.
  8. CarloOos

    Dead Space 2

    I’ve never actually played DS3 far enough to see the planet (demo aside). The intro’s naff but I thought the ship graveyard was pretty cool, and also allegedly where the dev wanted to set the whole game before EA started meddling.
  9. Also everyone loves to rag on the exploding hotel in QoS, but it’s nowhere near as dumb as Blofeld’s base in Spectre. It’s the Guinness world record holder for the largest on-screen explosion ever, and yet the best idea they had to trigger it was having Daniel Craig just walk out of a room and shoot the first valve he sees. So unbelievably shit and pointless. Actually I think that’s Spectre in a nutshell for me, just a total waste. It’s the most expensive Bond film by far, allegedly costing almost double what Skyfall did, and absolutely none of that is onscreen. Just two hours of boring meandering nonsense.
  10. I really like QoS but it actually has too much action, you could easily take out the boat & plane chases (the two worst set-pieces incidentally), swap them with some low-key sleuthing instead, and it would still be a very action-heavy film. I know the real reason they’re there though, it’s because of Marc Foster’s mad elemental earth/water/air/fire idea.
  11. The real benefit of Dolby Vision will be the same one it gave Film/TV; it gives devs a standardised mastering colourspace for HDR, so no more making up your own method of getting there with incredibly mixed results. But in general there's a lot of confusion about what Dolby Vision does/doesn't do, and I suspect some of the impressions about how much better it looks are a bit of a placebo. A 1000nit image mastered in Dolby Vision (the bog standard of HDR these days) and a 1000nit image in HDR10 should look exactly the same, but because they're not limited by actual physical footage some games devs have been mastering to 10,000 nits and all sorts of silly theoretical levels, which is why we've ended up with all these daft calibration tools to try and reign it in. Secretly, the real reason Dolby Vision content so often looks better (for video content at least) isn't because of any magical colour science at all, it's because it prioritises the HDR version and makes the SDR version derivative of that, whereas for most non-Dolby content you'd master in SDR first and quickly kick out a 'HDR-ified' version of that afterwards. Making the HDR version the priority in Dolby Vision by it's very nature means that version is the one you spend the most time polishing to look as good as possible, and arguably it's the SDR version that suffers when it comes to DV content. You won't see that in the marketing though. As for the much vaunted dynamic metadata... it doesn't do what most people seem to think it does. It's actually only used for the trim passes, so it should make absolutely no difference if you're watching something in HDR. Sometimes it'll be used for a 600nit trim (pretty much just for Apple afaik) but generally it's just used for the SDR version. Some people were confused that Dolby Vision for Gaming doesn't have any dynamic metadata but that doesn't surprise me; a) the analysis is very, very slow and b) in a gaming context it wouldn't be used for anything.
  12. Skyfall reminds me of Star Trek Into Darkness as a post-TDK film where I recognise all the absolute nonsense in the script, but just don’t really care as I watch it because it’s so confidently made. Of those two Skyfall is much better, though. Spectre was completely turgid nonsense and the only Craig film I actively dislike. If it wasn’t for the train fight the whole thing would be a total wash-out, it’s in the gutter alongside Diamonds Are Forever/Man With The Golden Gun/Never Say Never.
  13. Having a media baron as the villain IS a good idea, but it’s pretty much the only noteworthy thing about Tomorrow Never Dies. Michelle Yeoh has anti-chemistry with Brosnan, and despite her inclusion the action scenes are criminally boring. It’s a load of nothing, neither funny nor exciting.
  14. I do know some people who don’t rate Goldeneye at all, but personally I love it. I even mostly like the soundtrack. For me it fits alongside other 90s titles like Hard Target, The Rock etc as the absolute peak of the ‘craft’ of a particular type of action film which started in the 80s and largely died shortly afterwards. There’s some early CG but still a heavy emphasis on models and old-school comping, and it’s just slightly before Saving Private Ryan and The Matrix collectively led to 10 years of shit imitations in action choreography. Practical explosions & bullet hits, no impossible CG camera moves, no speed ramps. It looks and feels old school and slightly dangerous. By the time Tomorrow Never Dies rolled around less than two years later everything already felt a lot… glossier. None of the other Brosnan films have any edge.
  15. Yeah, if you’re gonna go with a slow external to reduce the amount of downloading then you might as well go all-in on the size with 4tb Seagate or something. They’re not that expensive.
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