Get Out was reportedly photographed at 3.4K but finished at 2K. This upscale nevertheless fares well, offering a pleasant uptick in color and detail that results in a more fluid, organic upscale compared to another new film released to UHD on the same day, Split, which features a harsher, almost artificially sharpened look about it, predominantly at the skin detail level. Indeed, there's a more organic sense of clarity and definition to this 2160p UHD. Facial features see a boost in definition without an aggressive appearance of artificiality. Complex pores and other facial elements, like Dean's facial hair, are extremely well pronounced with a pure, organic appearance. Clothing enjoys a solid boost in definition as well. Rodney's crisply pressed TSA work shirt, for example, reveals finely intimate fabric details and lines with unflinching ease. The diverse elements in and around the Armitage home, whether finely upholstered furniture, organic woods, or grasses and other greenery offer a satisfyingly clear and well defined presentation where they're sharp as a tack but with a lifelike grace about them. The HDR-enhanced color presentation offers improved stability and nuance. There's no betrayal of any color, just a pleasing refinement where that same blue TSA shirt or, just by chance the same color, Chris' denim-style shirt he wears for much of the movie's middle stretch offer significant color punch and depth. Greens around the grounds and warmer shades inside deliver a pleasant natural vitality. Black levels hold up fairly well, pushing only a shade or two away from pure deep. Flesh tones appear spot-on. Noise and other artifacts are essentially nonexistent at any level of significance. Though only a 2K upscale, Get Out shines on the UHD format.
Get Out gets onto UHD with a new DTS:X Master Audio soundtrack. When even the studio logos offer aggressive stage presence, pinpoint detail, and even dispersal throughout the stage, listeners will know that they're likely in for a treat, and that is indeed the case here. The track offers no shortage of intensive, dynamic sonic moments throughout, surrounded by a number of quality dialogue-heavy scenes and light, but mood critical, ambient support. The film's opening kidnapping sequence offers full, richly layered and effortlessly presented nighttime suburban atmospherics. Opening title music is vibrant, aggressively oriented and offering a prominent surround support that plays in expert balance around the stage. Even the noisy car interior as Chris and Rose travel to her parents' house has a stage-saturating depth and rumble about it. A deep bass line at the 1:12:30 mark sends a strong, lumbering pulse into the stage, followed by a large crescendo that delivers impressive depth and saturation. Prominent score punctuated by aggressive chants in the third act offer a brilliant full stage immersion that engages the top layer with a haunting reverberation. Additional ambience filters in as necessary, including light natural elements outside the house and more aggressive din -- squealing brakes, PA announcements -- when Rodney takes a break to call Chris from the airport. Dialogue is firmly positioned, naturally clear, and always well prioritized. Universal's DTS:X track takes an already excellent Blu-ray listen and improves on it in essentially every area where applicable.
4K Bluray details
Codec: HEVC / H.265
Resolution: Upscaled 4K (2160p)
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
English: DTS-HD Master Audio 7.1 (48kHz, 24-bit)
French: DTS 5.1
Spanish: DTS 5.1
Portuguese: DTS 5.1
English SDH, French, Portuguese, Spanish
4K Ultra HD
Two-disc set (1 BD-66, 1 BD-50)
4K Blu-ray: Region free
2K Blu-ray: Region free