Source France | Publisher : Warner Bros. | Release date : 02 October 2024
Video format
2160p24 | Ratio 2.39
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 4K
Soundtrack
English Dolby Atmos
Dolby Atmos
Subtitles
English
French
Rated 5 out of 5
Artistic : 9.5 | Video : 10 | Audio : 10
It is brought to the attention of our dear readers that, in addition to the specified and used viewing equipment, the rendering may differ from one installation to another, whether or not it is calibrated, as well as personal preferences and expectations may influence notation. In addition, the images (from the Patreon account of Matt Paprocki and site Slowpoke Pics) serve as an illustration and cannot be considered representative of the edition tested.
Test equipment and condition (Config. HP: 5.1.4)
Video broadcaster : Sony Bravia XR-65A95L (Dolby Dark Vision)
Sources : Oppo UDP-203 Audiocom Reference | Zappiti Reference
Pregnant : Sennheiser Ambeo Soundbar Max (Dolby Atmos), SVS SB-4000
WORK - Woman vs. Wild
As the world collapses, the young Furiosa falls into the hands of a horde of bikers led by the warlord Dementus. By crossing the Wasteland, they fall on the Citadelle presided over by Immortan Joe. As the two tyrants fight for domination, Furiosa has to survive many trials to find a way home.
Continuing to decline his obsessions while reinventing himself a fifth time, the mythical saga Mad Max Started in the 1980s, it's back on its way to Wasteland Fury Road, by building a superbly vast world and emotional issues otherwise deeper.
And if he does not renew the motorized trip to the crazy velocity of his eldest, right from the opening of his horizons, this post-nuke mythological peplum cut into several chapters is just as generous in everything he proposes, even if he leaves some narrative tracks on the bottom side.
Plastically superb despite a digital strangeness more marked than in the past, it must also be said that the staging favors furious flights at the previous metronomy of the montage, it follows a magnetic Anya Taylor-Joy in his visceral vengeance against a magnificently pathetic Chris Hemsworth... Not without encountering virtuoso motorized action scenes that once again managed to stand out from its predecessors.
When Ben-Hur visit the garage of Mad Max 2, Australian Home continues to write his legend where the Garden of Eden burns before the Revelation ends in silence. At 79, he's obviously not ready to stand up!
« As the world collapses around us, how do we face its cruelty? »
IMAGE - Mechanical Destriers
Where Fury Road had been shot in 2.8K and finished in 2K, Furiosa was captured in 6.5K and 8K before finalisation in 4K. A technological leap more than decisive in view of the undoubtedly extreme stylisation of photography (signed Simon Duggan) that the present UHD Dolby Vision transfer, with its solid average bitrate of 56 Mbps (and peaks at 87.3 Mbit/s), exposes in all its magnificence. Far behind, his Blu-ray counterpart is never able to push its limits to ride alongside this grandiose visual sequence.
The granular texture (less coarse than in HD) almost absent in the room makes a triumphant return (would it be an addition to the video output?), the wide frame is full of even more details (the skin textures, the war paintings, the damage on the vehicles) and the increased resolution is so obvious (the sharpness of the background is strictly inexpressible) that zapper on the HD disc makes it become aware of the monster gap that can exist between the two supports (it seems terribly soft in comparison while this is certainly not the case).
The highly saturated colorimetry (hot pop tints) fully exploits the WCG so that the insolent primaries coming to splatter the sepia desert show an out-of-standard vibrance and the contrasts, particularly bold, benefit from the darkness (netly better defined by densified blacks) as well as the clarity (high luminances much better trimmed to the dry whites). And thanks to a MaxCLL measured at 1102 nits (an Overage Peak Nits of 506 nits cd/m2), the light sources shine with a (vif) increased brightness... In fact, explosions, flames and other reflections on metal surfaces are a real feast for the eyes!
But while this presentation imposes as the ULTIMATE DEMONSTRATION of the (huge) benefits of support, here is the fact that the « Tinted Black & Chrome Edition » (a exclusivity to editions was captured in 6.5K and 8K before finalisation in 4K. A technological leap more than decisive in view of the undoubtedly extreme stylization of photography (signed Simon Duggan) than the present UHD Dolby Vision transfer, with its solid average bitrate of 56 Mbps (and peaks at 87.3 Mbit/s), exposes in all its magnificence. Far behind, his Blu-ray counterpart is never able to push its limits to ride alongside this grandiose visual sequence. The granular texture (less coarse than in HD) almost absent in the room makes a triumphant return (would it be an addition to the video output?), the wide frame is full of even more details (the skin textures, the war paintings, the damage on the vehicles) and the increased resolution is so obvious (the sharpness of the background is strictly inexpressible) that zapper on the HD disc makes it become aware of the monster gap that can exist between the two supports (it seems terribly soft in comparison while this is certainly not the case). The highly saturated colorimetry (hot pop tints) fully exploits the WCG so that the insolent primaries that come to splash the sepia desert have an out-of-standard vibrance and the contrasts, particularly bold, benefit from the dark (netly better defined by densified blacks) as well as the clarity (high luminances much better trimmed to the dry whites). And thanks to a MaxCLL measured at 1102 nits (an Average Peak Nits of 506 nits cd/m2), the light sources shine with a (vif) radiance), last variant in date finalized by George Miller in person (which he confesses to love watching in program opening), arrives without warning to shake all our convictions*...
), last variant in date finalized by George Miller in person (who he admits loves to watch in opening program), arrives without warning to shake all our convictions*... Fury Road* To the extent that colours play a major role in the apprehension of the crossed destinies of Furiosa and Dementus. First of all on the side of the avenger angel where the green innocence of nature, confronted with the ruthless brutality of mechanical violence, disappeared without return at the end of his quest in the black fire glittering with his eyes (since no doubt after
For opening the doors of the Valhalla to the greatest prequel of all time so that it can become the myth that it knows to be, it masks its few graphic defects* (CGI and sometimes visible integrations) in a macabre black and white while creating here and there small touches of color (very desaturated sometimes) making sense in each of the chapters told (such as vegetation in « The centre of accessibility » or red reflections in « Lessons from Desolation ») and during nights outdoors (dive in a slightly bluish atmosphere). Except for the nature whose fishing and its core (always coloured) symbolize immortality and rebirth, the wind of hope no longer blows for men in this proposition where life passed away long before the curtain rose. More pessimistic, you die.
The intensity of the lighting is multiplied (the brilliance of the bodywork is just implausible), the image splits out with a more revealing pique (especially on the faces cut with the serp strokes of several of the protagonists) and the granularity, rather discreet in the standard version even if manifest, is here much more palpable for a peaty rendering that fits it beautifully. In the face of such artistic success (more connected with the passages of Fury Road released at the end credits), difficult to deny that Furiosa must be given priority in his dark clothes.
* Graphical defects if it is because in an interview, the director mentioned that it was an artistic will so that the unrealizable cascades live can be detached because being an inherent part of the myth... Man being able to distinguish between reality and collective fantasy. Meditation!
SOUND - Noise and fury
Energizing and of course equipped with the memorable sound design of the franchise, this Dolby Atmos 16-bit mix (a 3397 kbps VO and a 3372 kbps VF) with demented dynamics and bursting effects has as much under the hood as that of Fury Road Even if the action is less pervasive. In return, it raises tension (a growing auditory assault) and considerably develops the sounds of Wasteland (as on Green Earth and Petroville).
The (rare) dialogues that do not only pass through the central channel are of great clarity even though the apocalypse resonates all around (the same is true in our language despite an unconvincing dubbing), the separation of the channels is exemplary with an acoustic precision of all the moments and the implacable beats of the LFE channel are of incredible authority (cf. the motors of the « thunder bike » and « War carrier »).
The verticality is propelled by its inexorable presence (projectiles of rocket launchers, megaphones mounted on the « prison because », flies in putrid undergrounds, echoes in the Citadelle, pulleys and other chains in the « Maison des Saints Motors », « flying warriors », the innumerable noises of cracked sheet metal, the overflights of ravens, the sand storm, etc.), the captive surround scene all along passing the second as soon as the narration requires it (especially at the Moulin à Balles) and the visceral score of Junkie XL, whose volume has been increased compared to the film mix, conquers space with a prodigious magnitude. A hell experience for a DEMO TOP already inscribed in the legend!
CONCLUSION - Witness!
Furiously apocalyptic but also deeply romantic, this new episode of the reference post-nuke saga Mad Max does not miss its ignition on 4K Ultra HD support (unlike its desert crossing in the box office). Its state-of-the-art A/V services avoid mechanical problems, go all ceasing business on the Devastated Earth!
Other articles related to the saga Mad Max on MaG:
- Mad Max by the celest wolf
- Mad Max 2: The Challenge, a time of chaos by the celest wolf
- Mad Max: Beyond the thunder dome, back to innocence by the celest wolf
- Mad Max: Fury Road, ode to cracked sheet metal by the celest wolf
- From the myth Mad Max to the black angel Furiosa: a revolutionary saga? by KillerS7ven
- Podcast – From Mad Max to Furiosa: ode to burnt macadam? by Keviguane, KillerS7ven, the celest wolf, Guillaume Lopez and PGaussem
Great test. I liked the few lyrical impulses welcome and the image of the myth. Nice analysis. I remain curious about the black and white version as for Godzilla. Bravo!
Thank you, my friend! 🙏
Frankly, it would really piss me off Miller's failure to complete his project by making a third and final opus!
I sincerely hope so! 🤞