'Terminator' 1 and 2 Save Their Reveals for the Right Time
&quot; The release also sadly lacks the full spectrum of special features that were available on the 2001 release, including script drafts and an hour-long documentary. &quot;<p>This is something that I noticed as a pattern for DVD releases in general. When DVDs were first arriving, titles were slower to be released. There&#x27;s plenty of reasoning behind this. However, &quot;they&quot; also did not know what level of effort would be required to get people to buy into DVDs. So the first DVDs were in effect overly produced with so much extra content. The first DVD that I bought was Contact, and the entire second disc is nothing but BTS and making of type content. Skip to the time when Blu-ray&#x2F;HD-DVD were being introduced, and you had &lt;$5 DVDs in bins at WalMart with 2 or 3 movies on it that had nothing but the movies with essentially no effort whatsoever being applied.<p>&quot;When I revisited the film on Amazon a year or two ago, I realized I was watching a remastered HD version, which featured a more contemporary color grade, generally referred to as “teal-and-orange.” The bluish look of the theatrical release, which was reproduced in previous video versions, gave way to an overly greenish look that was common on HD transfers of 80s pictures.&quot;<p>With DVD still being SD, a lot of the films had digital masters like a DigiBeta or D1 tape format which made for excellent DVD sources. This meant the DVDs looked like how people had seen them (only much cleaner compared to VHS). For HD discs, the studios had to go back to the film sources to rescan them at HD resolution. Since they were going back to the negatives, the sources would need to go back through a color session. Most film types can&#x27;t leave things alone and must always tweak, but even if they didn&#x27;t it&#x27;s a completely new color session and usually not the same colorist. Maybe for A-list titles did they get anything other than factory floor treatment. They had entire back libraries of films to get transferred. You also had the decisions of keeping OAR, reframing for 16x9 full frame, or even pan&amp;scan 4x3. It was a tremendous amount of work, and the longer it took meant fewer sales. Let&#x27;s not forget that some of the people that originally worked on titles could very much be &quot;no longer available&quot; to work with on the projects.