Films

France Carlotta > Criterion 4K Blu-ray see caps: https://slow.pics/c/s7AfL3XW

Grain is sharper/clearer on the new Carlotta/Criterion 4K; BFI's grain resolves slightly worse and more so in motion, being a standard Blu-ray; The Toho 4K's grain is softer, probably DNR'd.

BFI Player used to have the same mastering available to stream in 2019.

The 5.1 track is a new mix from the original elements, rather than a straight transfer.

Criterion booklet notes:
> High Art is presented in the aspect ratio of 1.85:1. Supervised and approved by director Lisa Cholodenko, this new 4K restoration was undertaken by the Academy Film Archive and the UCLA Film & Television Archive, in conjunction with the Sundance Institute, using the 35 mm original camera negative. The 5.1 surround soundtrack was remastered from the DA-88 edit masters and mix masters. Funding was provided by the Academy of Motion Picture Arts and Sciences, Frameline, the Sundance Institute, and the UCLA Film & Television Archive, with laboratory services by Roundabout Entertainment, Red Hook Post, and Monkeyland Audio.

AU Umbrella 4K Blu-ray > US Kino Lorber 4K Blu-ray 

The US/Theatrical Cut on the Kino Lorber 4K Blu-ray is AI upscaled and has DNR, along with Kino Lorber's usual poor compression.

Director's Cut uses a proper transfer but suffers from terrible compression, even by Kino standards.

The Umbrella with its FiM encode looks blurrier due to a slight low-pass filter, but is still far better than Kino.

AU Umbrella 4K Blu-ray and US Kino Lorber 4K Blu-ray are the same.

The 5.1 track is a direct port of the lossy NTSC DVD track.

Only segments survive

4K restoration available in 35mm, no home release yet

Restoration from original negatives available in 35mm, no home release

Restoration available in 35mm, no home release

MoMA has 35mm print but no release yet

Fragments of color sequence survived and preserved in UCLA

Some small segments were found see clip 1 clip 2 and clip 3

53 seconds of trailer survives