First of all and for the sake of transparency, know that in my opinion the primary goal of a good UHD transfer and soundtrack is to respect the original intentions for the image and soundtrack. This remark is very important for you to understand that the silver grain is not in any way an image defect but a artistic will. Moreover, but you must already know if you have been following me for a long time, it is the VO that I listen to preferably and therefore the one that I note in the end. So don't be surprised to find in the different rankings of editions offering only a VF lossy.
Truce of chatter, here is the ranking of the best 4K Ultra HD editions released in 2021... In France, but not that!
Contents
Top French releases
Godzilla vs Kong
• Video format : 3840×2160 / 24p – HDR10+ / Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.39 – DI 4K
Digitally captured in 3.4K and 6.5K, these absolutely beautiful images are perfectly restored by an exceptional UHD Dolby Vision transfer (or HDR10+ depending on your hardware). They are coated with blinding neon, all more colourful than each other and endowed with a heavyweight definition, they display without any compressive worries with a combination of ultra-fine details (cf. the texture of Kong fur or Godzilla scales), bright colors at significant depth (primarys are bright at wish during night scenes in Hong Kong), punchy contrasts never taken on reverse (blacks are abyssal and dazzling whites) and extremely bright reflections. As off next door, the Blu-ray is far from reaching the lavish visual proposal of this 4K Ultra HD. A reference!
• Sound tracks : English and French Dolby Atmos, English and French Dolby Digital 5.1
Impressive all along, this Dolby Atmos soundtrack (VO like VF) takes us to the heart of the action... Very powerful and dreadful precision, it is full of effects « aggressive » It is distributed over all the enclosures allocated to it. The dialogues are clear, the enraged dynamics, the complete atmospheres, the inspired score, the colossal infra-graves (I rarely felt such a burden during the impacts!), the stunning vertical component (the fauna and flora on the island of the Skull, the alarms in the centres of Apex, the fall of debris, the atomic breath of the King of Monsters or the rain) and the surrounding canals in permanent activity. A demonstration of strength!
Zack Snyder
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 1.33 – DI 4K
While the least image (in 4:3 format for a vertical gain that adds grandeur to the frame) is a real master canvas, that is little to say that the present 4K Ultra HD (two discs for optimal compression) burys his colleague published in 2018! Plastically splendid, each plane is magnified by the use of an intermediate 4K master (formerly a DI 2K) and an HDR10 encoding whose color calibration has been radically reworked. The granular structure (in the 35 mm passages) is restored to its superb, the colorimetric palette now colder and desaturated (or simply monochrome) brings blackness to the story, and the contrasts assert much better. In view of the new Blu-ray, the images delivered by this UHD transfer are even more stunning with an increased density of details (notably in the 70 mm IMAX filmed sequences), shades with the denser chromatic finesse, sharper contrasts (cf. the clarity of whites and the richness of blacks) and more heroic light sources (Wonder Woman's Lasso of Truth, Flash flashes, reflections on Cyborg's Lexoskeleton, public lighting, various electromagnetic radiations) that allow the high luminances to gain in precision (flames).
• Sound tracks : English and French Dolby Atmos, English and French Dolby Digital 5.1
Dolby Atmos soundtracks with a wide dynamic range, deep bass (they send heavy), wide spatialization, enveloping score (the lyrical flights are masterful), well-prioritized dialogues at the front and effects/ambiences, well distributed in space, which effectively populate calm moments such as action scenes (including confrontations with Darkseid and Steppenwolf). Immersive as possible and not necessarily free in its demonstration of force, this XXL soundtrack which never forgets to escape an adequate air life (as during the many aerial attacks of the Parademons) exploits an outfield full of brains (while it was only touched before) thanks to surround channels that never cease to activate.
Monster Hunter
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
Amplifying the HD experience, this UHD HDR10 presentation is simply superb. Yet excellent in Blu-ray, the details here gain in firmness and sharpness (military uniforms, rocky scenery, creatures' shells). The deeper colorimetric palette displays with more realism (the carnation, the blue sky, the lush vegetation of the oasis, the bright red eyes of the bebests), the contrasts arise with an excess of energy (see the scene in the Nerscyllas) and the sources of light are much more intense (the sun, the reflections on the sand, the explosions, the inflamed weapons).
• Sound tracks : English Dolby Atmos, French DTS-HD MA 5.1
Immersive and dynamic in devil, the soundtrack Dolby Atmos is an unusual ferocity. With a crazy expressiveness, it releases all its power to deliver us an absolutely thundering mix. The effects are on all sides, the atmosphere is not lacking, the height scene is unleashed at the slightest opportunity (the storm, the Rathalos), the electro-80s score is ventilated to the max and the bass are terrifying (the movements of the Diablos). A little less epic with a attenuated spatial presence (but not too much), the VF remains a muscular acoustic crossing that dominates most of its consoeurs. In the middle of the carnage, here's a « chaos » First order sound!
The Suicide Squad
• Video format : 3840×2160 / 24p – HDR10+ / Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.90 IMAX – DI 4K
Beautifully textured and taking full advantage of the improvements made by the HDR (HDR10+ or Dolby Vision), the image captured in 8K with digital cameras approved by IMAX is certainly fabulous! The definition does not suffer from any decrease in diet, the details gain in finesse (and this is even more noticeable during slowing), the beautiful granulosity breathes more, the CGI pass the heading of the 4K without eyebrowing, the colorimetric palette is even richer (the vegetation of the jungle) and vibrating (the Polka-Dot Man pellets, the princess dress and the « flowers » Harley Quinn, the dermis of Starro the Conqueror, the orange combinations of the Belle Reve inmates), the contrasts benefit from a better balance (blacks are denser and whites purer) and the brightness, undeniably higher than in SDR, stimulates the different lighting (gloss of ceiling and control screens) with as the highest point the white shower.
• Sound tracks : English and French Dolby Atmos, English and French Dolby Digital 5.1
Huge then calm, sensitive then explosive, this soundtrack (Dolby Atmos in VO and VF) elusive imposes its playful rhythm with extreme intensity and precision of every moment. The spatialisation totally grabs the listening piece, the dialogues move with the actors (going as far as sneaking back), the dynamics really do not lack confidence, the sound design is diversified, the activity surrounds which never ceases to amuse of circular movements and other sound chaos (cf. the final urban destruction), the aerial scene is just fantastic (helicopters, thunder, ricochets of bullets, rain, debris, displacements of the Kaijū, of the « starfish » flying, etc.), the basses are thick mousses (stitches, punches, bumps, explosions, and pass) and the engaging score is striking.
Spiral: L-Heritage of Saw
< ), this 3D mix with clear voices (a special mention to the storyteller Jacques Perrin), with regular organic effects and wide music (signed Joseph LoDuca), is provided with a particularly studied channel separation (especially at 62′, when Fronsac recalls the testimonies on the animal). The noises appear everywhere, the rear scene is constantly exploited (the screams of the revolutionaries, the water projections, the presence out-of-field of the Beast, the explosions of pumpkins) and the upper layer, abundant it must be said (even the percussions of the score are entitled to it), is always justified (the beating rain, the thunder that roars, the movements of the animal over the muddy pit where there is a berger). >
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
Significantly enhancing the visual experience of the excellent Blu-ray, this UHD HDR10 transfer is definitely a killing! Captured in 6K and taken from a DI 4K, the stylized images of the work are perfectly defined. They offer an impossible level of detail to reach in 1080p, an increased resolution in the shadows (it is more than notable in the metro and the police station archives), brighter colours clearly more nuanced (the depth of the blues) that add character to the flashbacks (by accentuating the ochre hues) and other more impressive light sources (starting with the intensity of the neon).
• Sound tracks : English Dolby Atmos, French (Quebec) Dolby Digital 5.1
Immersive and anxious, the soundtrack Dolby Atmos is really not there to laugh! Using remarkable spatialization (cf. the carnival sequence), she does not hesitate for a second to activate all the channels allocated to her to make us « bad ». The dialogues are made clear, the dynamics are aggressive as soon as « game » first, the surrounding canals never release the pressure (of the atmospheric atmospheres of this, of the Malaysian effects from there), the enormous aerial stratum plays with the traps (the claustrophobic resonances of the tunnel, the « Wind » of glass debris), the partition signed Charlie Clouser insidiously spreads through the listening room and the basses are striking as desired. Less intimidating in all areas, however, the VF(Q) suffers from too many voices.
Batman v Superman: The Dawn of Justice (IMAX Remastered)
‹ UK edition test ›
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 and 1.43 IMAX – DI 4K
On the occasion of the publication of the Zack Snyder, Batman v Superman: The Dawn of Justice has been the subject of a so-called recasting « IMAX ». Totally supervised by his director and executed by colorist Stefan Sonnenfeld, there is a real artistic consistency (more connected with the appearance of the 1st film cited) behind this UHD HDR10 transfer, which features IMAX 65 mm footage (at ratio 1.43) and a new color calibration. Extremely refined revisionism in short where color grading and lighting appear to be considerably improved. The differences in shades are observed throughout (a carefully corrected desaturation and a more natural carnation), starting with the Knightmare sequence where the reds have been attenuated (less lively and invasive) for a more accurate rendering. « realistic ». The contrasts have also been reinforced (richer blacks) and the different sources of light appear as more « Heroic » (a enhanced shine). Then there are the IMAX passages that add gigantism to the targeted scenes (the introduction of the young Bruce, the Knightmare, the title confrontation and the final funeral). Retrieving in verticality and definition (a considerable increase in detail), they are of divine beauty. And good surprise, all the planes captured in 35 mm benefit from a more precise pique and a silver texture of greater finesse (and without residual noise unlike the previous version). It may have been unexpected, but we are in the presence of a visual gem that allows the work to be even more epic!
• Sound tracks : English Dolby Atmos, French (Parisian) Dolby Digital 5.1
has been the subject of a so-called recasting « IMAX ». Totally supervised by his director and executed by colorist Stefan Sonnenfeld, there is a real artistic consistency (more connected with the appearance of the 1st film cited) behind this UHD HDR10 transfer, which features IMAX 65 mm footage (at ratio 1.43) and a new color calibration. Extremely refined revisionism in short where color grading and lighting appear to be considerably improved. The differences in shades are observed throughout (a carefully corrected desaturation and a more natural carnation), starting with the Knightmare sequence where the reds have been attenuated (less lively and invasive) for a more accurate rendering. « realistic ». The contrasts have also been reinforced (richer blacks) and the different sources of light appear as more « Heroic » (a enhanced shine). Then there are the IMAX passages that add gigantism to the targeted scenes (the introduction of the young Bruce, the Knightmare, the title confrontation and the final funeral). Retrieving in verticality and definition (a considerable increase in detail), they are of divine beauty. And good surprise, all the planes captured in 35 mm benefit from a more precise pique and a silver texture of greater finesse (and without residual noise unlike the previous version). It may have been unexpected, but we are in the presence of a visual gem that allows the work to be even more epic!
Hitman & Bodyguard 2
‹ ), this 3D mix with clear voices (a special mention to the storyteller Jacques Perrin), with regular organic effects and wide music (signed Joseph LoDuca), is provided with a particularly studied channel separation (especially at 62′, when Fronsac recalls the testimonies on the animal). The noises appear everywhere, the rear scene is constantly exploited (the screams of the revolutionaries, the water projections, the presence out-of-field of the Beast, the explosions of pumpkins) and the upper layer, abundant it must be said (even the percussions of the score are entitled to it), is always justified (the beating rain, the thunder that roars, the movements of the animal over the muddy pit where there is a berger). >
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.39 – DI 4K
Balanced sound tracks (the voices remain distinct even when the battle rages) and powerful supported by a large BO and heavy bass, where the many acoustic informations are distributed with the necessary impact and finesse on all channels (including the VO height). But of course, direction the soundtrack Dolby Atmos for a reference acoustic experience. More invigorating (cf. dynamics) with a soundscape that is full of even more information (action scenes fill the room loudly), it is incredibly enveloping thanks to the engagement of the air scene.
• Sound tracks : English Dolby Atmos, French (Quebec) Dolby Digital 5.1
Despite the rather soft CGIs, but this is also the case on the Blu-ray, this clean and vibrant Dolby Vision UHD transfer is simply incredible! The improvement of resolution (DI 4K obliges) allows for a significant increase in details (the close-up facial features, the fineness of the background, the textures of the accessories), the use of the WCG allows the colorimetric palette to be much more vivid (the primary ones, from the blue sky to the red blood, come out of the screen) and nuanced (the amber interiors), and the presence of the HDR technology greatly accentuates contrasts (cf. the depth of the blacks and the shine of the whites) such as lighting (the atmosphere of nightlife, flames, daylight, reflections on the bodywork, etc.).
Free Guy
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
As the frame of video games allows unlimited visual potential, it's no wonder that this UHD HDR10 transfer is also chiaded... Even if it is less luminous than its overexuberant HD counterpart (it is too day all the time!). Captured in 6.5K, the images drawn here from a DI 4K are striking throughout. Brilliant without excess (as opposed to Blu-ray), they are full of complex details (scrutinize Easter eggs in the background) fabulously rendered (cf. the wild skins of the players) and appear with a rather hallucinating three-dimensionality (the passages in POV). More precise than in HD, especially during the rare scenes where the darkness occurs (the planks) thanks to more precise contrasts (blacks are ink and healthier whites), they also enjoy otherwise richer (primary) and nuanced colors (carnation, vehicle body, explosions) as well as better tamed light sources (PC monitors, inlays through the glasses).
• Sound tracks : English Dolby Atmos, French Dolby Digital Plus 7.1
Voluntaryly exaggerated in Free City (we're in a video game after all) and more realistic in the real world (offices and that's all), this wrapping Dolby Atmos soundtrack is particularly enlivened. Loaded with heavy bass and equipped with an incredible surround activity (the car chase perfectly illustrates my saying), this violently dynamic 3D mixing and living at the possible use of the height channels as soon as the occasion presents itself (the most striking being the location of the « bonus objects »)... That is to say all the time, at least in-game (95% of the work) ! Besides this, the dialogues are clear and the score engaging. Less muscular and more restricted in its spatialization, the VF n « almost » HD.
Cruella
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 1.85 – DI 2K
Clearly superior to its HD counterpart, this HDR10 UHD transfer is simply exceptional! The increase of the definition is revealed on the faces (pores of the skin, hair, make-up), period decorations and of course costumes (sewings, fabrics). The increased richness of the colour palette emerges on the primary (blue and red shades are more vigorous) but not than; It is only necessary to observe the vegetation and the golden fabrics to ensure it. The wide shade of contrasts is evident when Cruella's black and white hair and outfits are on screen (or even Dalmatians); The white balance is incredible and the level of blacks of great precision... A bounty during the weakly lit sequences (see the night-lighted chase), especially that the light sources, much more luxurious, enjoy brighter reflections (the bitumen illuminated by the headlights) and multiplied intensity (the flames in the loft).
• Sound tracks : English Dolby Atmos, French Dolby Digital Plus 7.1
Ode to the English punk-rock movement (the BO is a killing), this soundtrack delivered in Dolby Atmos (VO) impresses long-lastingly and sets the fire regularly! Once is not « sewing », runway point « Dolby Atmouse » Here but a mix filled with energy with harmonious sound design. Dynamics are fierce, realistic spatialization, robust effects, enveloping atmospheres (the presence in the audience's surrounds during parties or parades), musical score worthy of a concert (but what a presence!), the lively high-level scene without excess (rain, discussions emanating from the floor, a fire, etc.), deep basses and ever-crystalline dialogues. Neither also rich in detail nor also sustained in low frequencies, the VF n
An angry man
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
Captured in 6K before benefiting from an intermediate 4K master, rough images (a 35 mm grain has been added in post-prod) and slightly unsaturated from this UHD HDR10 transfer benefit from a sharp definition (the pique is dreadful precision) and clever contrasts (underlighted places thus gain in relief) that sublimate the dark and greyish photograph of the work. The details are a little thinner than in HD (the fabric of uniforms and costumes, the textures of the backgrounds in the background), the rare colors come out with more fergo (the red atmosphere of the pedophile den), the blacks have been reinforced (a greater depth) and the light sources manage to be illustrated by an increased radiance (cf. the blue and red neons of the bar).
• Sound tracks : English and French DTS-HD MA 7.1
Oppressing and overflowing with energy, this soundtrack rhythmized by an intensely dramatic score (signed Chris Benstead) and traversing impacting shootings plunges us into the heart of the action. The dialogues detach perfectly, the dynamics are feverish, the realistic sounds (gunshots), the directivity of the always amazing effects (balls cross the acoustic space on both sides) and the visceral bass (they give a lot of weight to pyrotechnics). Both proposed in DTS-HD MA 7.1, the VO and VF get both one and the other... But the absence of Dolby Atmos mixing in the rooms, at least in VO, makes the note of this section lose 0.5 points.
Top Foreign Exclusives
The Green Knight
‹ ), this 3D mix with clear voices (a special mention to the storyteller Jacques Perrin), with regular organic effects and wide music (signed Joseph LoDuca), is provided with a particularly studied channel separation (especially at 62′, when Fronsac recalls the testimonies on the animal). The noises appear everywhere, the rear scene is constantly exploited (the screams of the revolutionaries, the water projections, the presence out-of-field of the Beast, the explosions of pumpkins) and the upper layer, abundant it must be said (even the percussions of the score are entitled to it), is always justified (the beating rain, the thunder that roars, the movements of the animal over the muddy pit where there is a berger). ›
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.85 – DI 4K
With stunning beauty, the photo of the work finds in this UHD Dolby Vision transfer an ally of weight... It must be said that this presentation from a DI 4K (images captured in 6.5K using a camera Arri Alexa 65) rises to the top without ever bending. The colour banding visible in HD (the underwater search of a head) is of ancient history, the definition is even more royal and the level of detail is significantly increased (face features, medieval costumes, texture of decors and/or landscapes). The colorimetric palette, very specific it is true in addition to being essential to narration, acquires new shades (cf. the multiple shades of gold and grey) while adding boldness to its primaries (a greener nature, reds and yellows better saturated), the additional precision brought to the contrasts allows an improvement of the clarity of the scenes plunged into the darkness (thanks to more opulent blacks and whites enhardis), and the light sources, most unusual, we admit, are restocked with sun (he splashes some diurnal passages) and fantastic bursts (reflections on blades, cloudy skies, flames).
• Sound tracks : English Dolby Atmos
Immersive but rarely demonstrative, this harmonious soundtrack Dolby Atmos intelligently uses its spatialization and bass (the Green Knight's movements) to better embark on this outdoor adventure. The dynamics know how to play its presence, the environmental atmospheres are not lacking (the agitation of the brothel, the noises of nature), the surround scene is refined (wind, fauna, enemies hammering the walls of the castle), the effects of height contribute to the feeling of certain events (especially when Guinevere enters trance to the reading of the letter brought by the Green Knight) and dialogues such as the score (intressing and contemplative) are delivered as clearly as proper.
The Protected
‹ ), this 3D mix with clear voices (a special mention to the storyteller Jacques Perrin), with regular organic effects and wide music (signed Joseph LoDuca), is provided with a particularly studied channel separation (especially at 62′, when Fronsac recalls the testimonies on the animal). The noises appear everywhere, the rear scene is constantly exploited (the screams of the revolutionaries, the water projections, the presence out-of-field of the Beast, the explosions of pumpkins) and the upper layer, abundant it must be said (even the percussions of the score are entitled to it), is always justified (the beating rain, the thunder that roars, the movements of the animal over the muddy pit where there is a berger). ›
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.39 – DI 4K
Very detailed and very contrasting, the image of this UHD Dolby Vision transfer is particularly impressive. The definition excels (cf. the sharpness of the exteriors), the pitch is significantly improved (the finest details are significantly firmer), the colours are even more attractive (the shades of blue, green and brown/yellow are wider), the demarcation of the shadows is more worked out, the shine of the whites is much brighter and the light sources, such as the reflection of the lights on the water puddles during the opening sequence or the neons in the den of the bikers, are furiously enhardy.
• Sound tracks : English Dolby Atmos, French (Quebec) Dolby Digital 5.1
The VO Dolby Atmos, which is hyperactive and uses a striking verticality (i.e. rain, sniper rifles, wildlife, water sprinkler activation, etc.), is a real demonstration trail driven by blows, gun detonation and explosions. The dynamics are unleashed, the spatialisation plays with the pyrotechnic effects and the environmental atmospheres (the animation of the streets), the score of Rupert Parkes aka Photek fully occupies the acoustic space, the LFE channel regularly pounds the listening room and the dialogues are clear. Even if committed (it is not lacking in scope), the VF(Q) is less energetic and not as enveloping (less directionality and missing height scene).
Mister Babaook
‹ UK edition test ›
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
Visually stunning, this UHD HDR10 transfer from a 4K scan of the original negatives is nothing less than one of the best video presentations on the media! Using a monochrome palette close to black and white that some color breakthroughs come « brightening », the wonderful greyish and bathed shade photography by Radosław Čadczuk is magnified by enhanced contrasts (cf. the superb gradation of blacks and whites), infinitely richer shades of grey and much more light sources « supernatural ». Incredibly detailed, the image is paid in addition to an even more clinical bite than in 1080p that a consolidated compression comes perfect.
• Sound tracks : English DTS-HD MA 5.1
Almost as striking as the image, this subtle and scary soundtrack delivers many shock passages! The voices are precise, the dynamics are verva, the strange effects (or not) like the heavy atmospheres (always) are broadcast on all the speakers with more (house, park) or less (street, school) of bustle, the reserved score (or not) sneaks away from everywhere not without clarity and the bass, sometimes huge, are judiciously used.
Soul
‹ CA edition test ›
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
Absolutely stunning, this HDR10 UHD transfer touches perfection! Drawn from a DI 4K, the image is ultra-cut, beautifully coloured and brightly lit. Everything is even more visible than in HD, from the fur of the cat to the posters on the walls through the texture of the clothes, and the combo WCG/HDR gives peps to the light sources (the sun, the felted atmosphere of the jazz bar, the milky way of the « Great After »), from sumptuousness to contrasts (blacks are deeper and whites are much brighter) and from richness to colorimetric space (cf. the ethereal roses and blues of the astral plane).
• Sound tracks : English Dolby Atmos, English and French (Quebec) Dolby Digital Plus 7.1, English Dolby Digital 5.1 and Dolby Digital 2.0
Far from the Dolby slopes « Atmouse » made in Disney, this 3D soundtrack that generously uses all the channels at its disposal proves to be a tremendously enveloping acoustic experience where the height scene is an integral part of the journey (the souls drawn by the « Great After », the leaves in the wind, the echoes in the streets of New York and by the way). Ample, precise and natural, it diffuses clear dialogues, striking effects sent forward and back (as when 22 « between » in the outside world) and gliding atmospheres... Like his free and inventive music, which never stopped carrying us « elsewhere » Hey! And even though it is still necessary (a little) to push the potash beyond the reference volume, the dynamics are not shy and the basses are superbly tight. Less and more « land to land », the VFQ remains very convincing... The more careful the dubbing is than that of the VFF (not present on the disc).
The News of the World
‹ ), this 3D mix with clear voices (a special mention to the storyteller Jacques Perrin), with regular organic effects and wide music (signed Joseph LoDuca), is provided with a particularly studied channel separation (especially at 62′, when Fronsac recalls the testimonies on the animal). The noises appear everywhere, the rear scene is constantly exploited (the screams of the revolutionaries, the water projections, the presence out-of-field of the Beast, the explosions of pumpkins) and the upper layer, abundant it must be said (even the percussions of the score are entitled to it), is always justified (the beating rain, the thunder that roars, the movements of the animal over the muddy pit where there is a berger). ›
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
Clearer, clearer and authentic than Blu-ray, the refined image of this UHD HDR10 transfer (and not HDR10+ as the jacket mistakenly mentions) is a wonder of all the moments that stopped sublimating the superb photograph of Dariusz Wolski (nominated at Oscar 2021). Extremely detailed and very clear, it reveals textures of infinite precision (the clothes of the period, the decorations/landscapes more or less dusty) that its HD counterpart cannot approach. The colorimetric palette with earthy ambiences is gaining in ardour (green vegetation, blue sky), bold contrasts (blacks are firmer and whites purer) and natural lighting in vivacity (the sunny sky with cotton clouds, dusk around a campfire). Compression is controlled and does not allow any form of video noise even during low-light scenes.
• Sound tracks : English Dolby Atmos, French (Quebec) Dolby Digital 5.1
With a seamless immersion, the Dolby Atmos VO (named Oscar 2021) is perfectly balanced. Overshadowed by a score of subtle (false) discretion that she faithfully aerates, she scatters her many atmospheres to the four corners of the listening room (cf. the beating rain in the heights). Engaging when the action occurs, she knows how to make the powder speak through a timely dynamic, fierce shootings and dry bass (but never for free dominant). Dialogues are always audible. On the VF side (Dolby Digital 5.1) and despite the loss of verticality (wildlife is therefore forced to live on the ground), it is a bit the same but in addition « closed »... Kind of as if nature extended for less than miles!
Top works of heritage
Nimitz, back to hell (The Final Countdown)
‹ ), this 3D mix with clear voices (a special mention to the storyteller Jacques Perrin), with regular organic effects and wide music (signed Joseph LoDuca), is provided with a particularly studied channel separation (especially at 62′, when Fronsac recalls the testimonies on the animal). The noises appear everywhere, the rear scene is constantly exploited (the screams of the revolutionaries, the water projections, the presence out-of-field of the Beast, the explosions of pumpkins) and the upper layer, abundant it must be said (even the percussions of the score are entitled to it), is always justified (the beating rain, the thunder that roars, the movements of the animal over the muddy pit where there is a berger). US edition test
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.39 – DI 4K
Digitalized in 16-bit 4K from the original 35 mm negative before being restored by the editor, this Dolby Vision UHD transfer is absolutely incredible despite small fluctuations (due to optically printed source) that can appear when special effects are in the frame. The image which is of exemplary stability has been perfectly cleaned, the silver grain is of a beautiful organic correctness, the density of the piqué is strictly exceptional (the increase of the details is noticeable from one plane to another), the calibration of the colors is richer and nuanced than in the past (the primary ones are brighter and the other shades better revealed), the contrasts have been beautifully improved with deeper blacks and brighter whites, and the sources of light « Piloted » By HDR technology much better illuminate the places today.
• Sound tracks : English Dolby Atmos, English DTS-HD MA 5.1 and DTS-HD MA 2.0, French DTS-HD MA 2.0
While it must be remembered that the original mix is more oriented to before the recent big productions, the Dolby Atmos track remains no less fantastic. No sound anomaly comes to betray the age of the film, dynamic intensity does not relax its efforts, dialogues are as clear as stable, bass show great power and spatialization is surprising as soon as events shake the warship. Because it is in those moments that the rears and the height scene (the electromagnetic storm, the overflights of the « Gatsby »air combat F-14/A6M « Zero ») act generously. Equally clean but much less ardent, the VF DTS-HD MA 2.0 cannot fight against the magnitude of the VO.
Last Action Hero
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
Coming from a new 4K scan, this UHD HDR10 transfer outperforms its HD counterpart. The 35 mm silver grain is more filmic than ever, the contribution in definition is obvious all along, the details are constantly refined (the freckles of the young New Yorker Danny Madigan, the characteristic outfit of Jack Slater, the background decors), the newly calibrated colorimetric palette is much richer (the sky blue, the green of the vegetation, the red front of the cinema during the preview public) and natural (the carnation), the contrasts have clearly been reinforced (the more frank whites and the better cut blacks) and the different lights are illustrated by a radiance (cf. the gyrophars of the police vehicles during the intro and the reflections of the water at the end) which the all-fade Blu-ray cannot of course reproduce.
• Sound tracks : English Dolby Atmos, English DTS-HD MA 5.1 and DTS-HD MA 2.0, French DTS-HD MA 5.1
Despite the effects that can be dated (pump rifle), here is a Dolby Atmos remix as cartoon as the work he sounds. The 3D soundtrack uses all its channels to swing the sauce! The dynamics fly away like the Pontiac Bonneville of the hero, the LFE channel is an actor in its own right, and the sound distribution is well capped (the rear scene comes back as soon as it can). Special mention to high-rise enclosures that are recruited during many key moments (air ballets of helicopters, rain). Even if powerful and well spatialized, it is difficult to take as much foot (despite a delectable dubbing) in front of the VF DTS-HD MA 5.1!
Speed
‹ UK edition test (unpublished in France) ›
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
With this wonderfully filmic UHD HDR10 transfer, Speed seems to have taken no wrinkles since its release in 1994. Offering a nice upgrade to the aging Blu-ray of 2006, the image is in full possession of its means. The 35 mm silver texture is much more natural, the definition has made a real leap forward (see the wear of the seats inside the bus) and the copy has been perfectly cleaned. But improvements don't stop there... Without excess, the colors are more expressive and refined. The photo thus gains in heat and the primarys in punch (explosions). And the same applies to contrasts that are firmer (clear whites and deeper blacks) and light sources that are displayed with a new grandeur (especially the natural light that floods the scenes taking place during the day). So, Speed Like you've never seen? Without hesitation, yes! Because this 4K Ultra HD is much clearer, detailed and homogeneous than its HD counterpart.
• Sound tracks : English DTS-HD MA 5.1, French (Parisian) DTS 5.1
Particularly energetic, the VO can rely on its dynamic (a lot of recovery), its spatialisation (excellent distribution of effects/ambiences), its clarity (beautiful intelligibility of voices) and its bass (high power) to ensure without interruption the acoustic spectacle. As a reminder, this soundtrack won two Oscars in 1995. However, a 3D remix would have been welcome. If it doesn't detract, the VF is still more wasteful.
Battle Royale – Directors Cut
‹ UK edition test ›
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.85 – DI 4K
From the original negative, this native 4K restoration (for both versions presented on separate disks) is just fabulous. Perfectly cleaned and encoded in Dolby Vision, the image that emerges in front of our eyes (ebahis) is faithful to the very raw character of the work (the granularity, tighter than in HD, is always part of it). With an unprecedented depth at home, it benefits from surprisingly fine details (the fabrics of clothing, the textures of buildings, the backgrounds of the island) even though rare planes display signs of softness, a deliberately dull colorimetric palette (except the greens of lush nature) far removed from the bleached hues of the previous Blu-ray, otherwise more striking contrasts (the blacks, now ink, are no longer crushed) and much more striking light sources (reflections on water, daylight, computer monitors).
• Sound tracks : Japanese DTS-HD MA 5.1 and DTS-HD MA 2.0
Between brutality and softness, this regularly explosive multichannel soundtrack (in the middle of the action) is provided with a beautiful energy. The dialogues are clear, the dynamics are merciless, the effects as the atmospheres are well placed, the rear scene is well sought after, the (memorable) orchestral score is excellently restored and the LFE channel is not left behind. However, it is possible to hear a slight breath two or three times (a few minutes in short).
Donnie Darko – Directors Cut
‹ UK edition test ›
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.35 – DI 4K
Restored in 4K by the publisher from the original negative 35 mm and approved by the director Richard Kelly and the op-head Steven Poster (for cinema and director-cut versions), this UHD Dolby Vision transfer is at the height of the dark photographic work. For despite clear skies that can become noisy on rare occasions, there is really nothing else to blame him. The granular texture increases in confidence and finesse, the details are improved (as on close-up faces or background decorations), especially in the shadows, the colorimetric palette with shades slightly more blue than on the Blu-ray seems more robust, the contrasts are reinforced (cf. the richness of the blacks) and the different lights are more dazzling than ever (the intensity of the flames makes it very easy to convince). Beautiful work for a low-budget production that did not demand so much.
• Sound tracks : English DTS-HD MA 5.1
Enchanting and ethereal, this DTS-HD MA 5.1 soundtrack with clear rendering dialogues, generous surround activity, iconic score and impressive low frequencies (the thunder picks us from the beginning) reveals an immersion of every moment.
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