You are equipped with an ultra HD 4K player and diffuser. Only here you don't know what to buy to feed all this beautiful world! Let yourself be guided by making your choice in the list below.
But 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.
And if the absence of « atomic bomb » Oppenheimer Surprisingly, tell yourself it's because I haven't yet found time to test it from bottom to bottom. Nevertheless, from the excerpts I've been through, I can already tell you that Christopher Nolan He pulled out heavy artillery... One of the most beautiful video presentations in the media? I think so. One of the best DTS-HD MA 5.1 blends on the market? Maybe yes! But rest assured, it should logically find its place in the new article on the best 4K Blu-ray support which will be published later this year.
Truce of chatter, here is the ranking of the best 4K Ultra HD editions released in 2023... In France, but not that!
Contents
Top French releases
Avatar: The Waterway
• Video format : 2160p24 – Ratio 1.85 – HDR10 / BT.2020 – HEVC encoding – DI 4K
Despite the absence of the 48 fps HFR technology (unfortunately not supported by the Blu-ray Ultra HD standard) operated in the dark rooms, this impeccable UHD HDR10 transfer is one of the most beautiful presentations on the medium. Indeed, absolutely stunning and strictly refined (cf. the beautifully subtle use of brightness peaks) in all its components, the 4K image makes take water to its counterpart 1080p yet solidly equipped! The original source is obviously virgin of all dirt, the details abound at the four corners of the wide frame with more textural complexity (the skin grain, hair, weaving of clothes, corals, foliage, water droplets, dirt, mountains on the horizon and so on) and the compression HEVC shows its superiority in all circumstances (starting with forest sequences where rain and mist intervene). The naturally bold colorimetric palette (of ultra varied shades) increases in shade and vibrance (the present chromatic impulse of the primarys is possible only with WCG), the range of contrasts which significantly widen (the levels of black are richer and the purity of the whites reinforced) brings depth to the images and the sumptuous light sources (bioluminescence), weighted with demand, display with increased realism (the rays of the sun, the computer terminals, the reflections on the surface of the water, the night lights, the branches-lianes of the Tree of Souls and its equivalent s
• Soundtrack : English Dolby Atmos, French Dolby Digital Plus 7.1
With a live acoustic scene to the extent possible and a constant multichannel activity, the VO Dolby Atmos, once the volume increased by a few decibels, is fantastic from beginning to end. The dynamics unfold with intensity when the armed conflict comes wildly to break the moments when calm reigns, the realism of the surrounding environment (the fauna and flora) and the regular activity of the heights (overflights of the Ikrans, underwater noises, jumps of marine creatures, debris falls, etc.) impress lastingly, the music of the Simon Frallen (very respectful of the late James Horner) is as wide as enveloping, the dialogues (provided with directionality if necessary) are set out with great clarity and the LFE channel, which is very robust, delivers huge bass as soon as the occasion presents itself (explosions, shots, roaring engines, waves that break, movements of the Tulkuns). Even if less emotional, the VF (with careful dubbing) encoded in Dolby Digital Plus 7.1 generously deploys its effects in the acoustic space and remains well balanced.
Ninja Turtles: Teenage Years
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 2K
A kaleidoscope of tones and lights truly incredible (oil painting in acid) that this UHD Dolby Vision transfer reproduces with insolent perfection. Ultra-living and in perpetual motion (without compression wavering), this « concept art » An animated full of textures deploys a definition with superior firmness, more complex details than in HD (the derailed features), an even more unreasonable colorimetric palette (radio greens, flamboyant reds and electric blues) and contrasts to the formidable solidity (between blacks at absolute depth and bright whites) that reinforce the impact of ambient lighting (New York at night).
• Soundtrack : English Dolby Atmos? Clearly yes during scenes including real shots since scaling there is coarse with artifacts from everywhere... Not to mention a numerical reduction of noise (DNR) in the pack and a reinforcement of the contours (edge enhancement) extremely aggressive for an artificial rendering as possible. The detours are approximate (sometimes with double contours), the draft backgrounds, the smoothed and/or too accentuated details (at times in the same frame), the waxy or cracked faces and too many elements (including the actors) are abnormally detached from the others (in and outside the GDR premises). That's awful! Not really during full CGI scenes where the AI gives the impression of being in its element (the synthetic images lend themselves particularly well to clinical accuracy). The increased sharpness of the details (the faces of the Na'vis, accessories, clothing), the accuracy of the contours (the vegetal landscape) and the accentuation of the relief rarely betrays the use of an ascending conversion into automatic mode. It's bluffing! If this is « façade » too heterogeneous to convince, the luxuriant colorimetric palette by nature sees some of its shades enhanced (blue skin, the multiple shades of exotic flowers, green vegetation), the more assertive contrasts spread firmed blacks (the shadows are better designed) and brighter whites (the sacred seeds), and the light sources display less intensity than in the past (the mushrooms and
Doped by a hell BO where musical experiments of Trent Reznor and Atticus Ross meet the East Coast rap of the 90s, this soundtrack Dolby Atmos sends the pâté. The dialogues are returned with as much precision as with clarity, the dynamic deployed is bursting, the effects are thundering (motorized pursuit in the streets of New York has nothing to envy to Mad Max: Fury Road and the final with Kaijū Eiga heel sauce the MonsterVerse), the activity of the surrounds is almost constant, the verticality of the mixing is regularly requested and the basses are prepared to be removed (the spin of engines, explosions, the snoring of energy weapons). Although it cannot support the comparison despite efficient spatialisation and a certain extent (at least at its level), the small VF Dolby Digital 5.1 is nevertheless equipped with a careful dubbing (Gérard Darmon, Audrey Lamy, Monsieur Poulpe, Anne-Claire Coudray) with well adapted jokes.
John Wick: Chapter 4
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
With its neons and its luminous flashes do you want some, the visual identity marked by the saga (which it has been due since the 2nd part to Dan Laustsen, the leader of the Wolf Pact and Nightmare Alley), pushed to its climax, finds in this magnificent UHD Dolby Vision transfer (improvements vis-à-vis the Blu-ray come to mind) an ally worthy of its opulence. The compression perfectly holds the blow regardless of the sequence (especially under the stunts of the nightclub) and the level of detail impresses all along with a significantly increased finesse of the least texture (facial hairiness, costumes, scenery, paintings in the driveway of the romantic works of the Louvre Museum). The bright colorimetric palette (where orange and blue shades predominate) is displayed with a well raised vivacity (gold sand worthy of Lawrence of Arabia, the electric reds and the emerald greens of the Continental Osaka), the best-optimized contrast rate enhances the depth of the blacks (which retain all their relief) and the shine of the whites (the shirt of John wick) while the darkness inhabits a large part of the places visited, and the lights (the candles at the Church of St. Eustatius, the headlights of the vehicles, the reflections on the blades and the parvis of the Trocadéro, the sunrise on Paris, the ceiling lights at the false station Porte des Lilas and of course fluorescent tubes) are distinguished by a reinforced radiation to the possible.
• Soundtrack : English and French Dolby Atmos
Except for a somewhat dull recording level (+ 10dB and the turn is played) and a dynamic a tantinet less aggressive than expected (but no less expressive rest assured), these two soundtracks encoded in Dolby Atmos (rather similar if it is that the VF, with carefully integrated dubbing, is a more powerful hair) give all that they have in the belly... And this from the opening, blinking at the Failed and Dead of the Steven Seagal, with the incredibly loud noise of fists of Keanu Reeves Crushing against a boxing bag. The impacts sound through the listening room with a crazy proximity and the LFE channel already asserts as a heavyweight in its category... And the grandiose mix is just beginning! The dialogues (no one has to admit) are clear even when the effects are unleashed (most of the time), the spatialisation is defiant during the action scenes (especially during the motorized chaos on the rue de l'Arc de Triomphe), the throbbing of the engines, the impact of the weapons (a quasi-harassing ballistic brutality) and the blasting of the explosions cause the bass to roar, the verticality of the soundtrack is rare but it remains no less well soaked (balls that whistle, debris that fall and people who fall) « Flight ») and the electro-rock score of Tyler Bates deploys with a certain spatial scope.
Black Adam
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
Digitally captured (in 4.5K) and from a DI 4K, the images of this UHD Dolby Vision compression transfer are more striking than Blu-ray. With a remarkable sharpness and supported by a high dynamic range, they show a definition that hardly weakens, a very sharp stitch with refined details (faces, costumes, decors more or less rough), a colorimetric palette dominated by the yellows (we are in the Middle East) to the even warmer calibration (goldures are the same as those in the Middle East). « Unreal ») and saturated (blue flashes, red of the combination dAtom Smasher, orange flames), better controlled contrasts thanks to more nuanced blacks (see passages to the Rock of Eternity) and whites with the purity observed, and expanded light sources with much greater intensity (explosions, flashlights, neons on board the flying ship of the Justice Society).
• Soundtrack : English and French Dolby Atmos
Ready to explode everything once the volume has been pushed (as with its rival with large ears but at a lower level), the very efficient soundtrack Dolby Atmos (in VO as in VF) shows as much power as precision. The dynamic is invigorating, the LFE channel whose activity is sustained (thresholds of rockets, deflagrations, blows carried) correctly uses infra-graves (more in VO), the spatialisation which is attractive exploits immersive surround effects (electric arcs, fire, cars) and a significant aerial scene (flying vehicles, Hawkman, debris falls), the energetic score of Lorne Balfe There is no lack of scope and dialogues (the good dubbing of the VF interferes a little with the atmospheres), sometimes present at the back (the voice of the Doctor Fate) are of great clarity.
Donjons & Dragons: Honor of thieves
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
Demonstrative as possible, this UHD Dolby Vision transfer to fearsome compression (the noise, certainly negligible, present on the Blu-ray has simply disappeared) chooses photography filled with life Barry Peterson. The wide frame abounds with even more textures (cf. the increased clarity of the landscapes) and details appear with greater sharpness (face hair, skin pores, armament, trimmings, interior decoration, exterior environments). The wonderful colorimetric palette takes advantage of more striking hues (the lush green vegetation, the yellow sleeves of the bewitcher Simon, the magical blue portal, the red hair of the Druidesse Doric) and a healthier carnation, the contrasts that are more balanced discreetly darken the image (for a stronger rendering) in order to pour a good layer of additional precision to blacks (without background) and whites (brighter), and the light sources come to make more sparks as soon as supernatural artifacts and/or the aura of magic come into the scene.
• Soundtrack : English Dolby Atmos? Clearly yes during scenes including real shots since scaling there is coarse with artifacts from everywhere... Not to mention a numerical reduction of noise (DNR) in the pack and a reinforcement of the contours (edge enhancement) extremely aggressive for an artificial rendering as possible. The detours are approximate (sometimes with double contours), the draft backgrounds, the smoothed and/or too accentuated details (at times in the same frame), the waxy or cracked faces and too many elements (including the actors) are abnormally detached from the others (in and outside the GDR premises). That's awful! Not really during full CGI scenes where the AI gives the impression of being in its element (the synthetic images lend themselves particularly well to clinical accuracy). The increased sharpness of the details (the faces of the Na'vis, accessories, clothing), the accuracy of the contours (the vegetal landscape) and the accentuation of the relief rarely betrays the use of an ascending conversion into automatic mode. It's bluffing! If this is « façade » too heterogeneous to convince, the luxuriant colorimetric palette by nature sees some of its shades enhanced (blue skin, the multiple shades of exotic flowers, green vegetation), the more assertive contrasts spread firmed blacks (the shadows are better designed) and brighter whites (the sacred seeds), and the light sources display less intensity than in the past (the mushrooms and
Also tumultuous (the agitation during the action scenes) as surprisingly subtle (the sound of environments), the soundtrack Dolby Atmos (reserved for the VO) sets fire despite an LFE channel that could have hit harder (even if the escape from a gigantic dodu reptile remains memorable in this register). Incredibly active at the back and enjoying a fearless dynamic, it spreads its effects and other fantastic atmospheres here and there with as much clarity as with mobility. The dialogues are well centered at the front, the acoustic landscape presents a superb richness, the layer of height regularly swallows us (magic is projected, dragons fly, the cave unfolds its echoes and debris collapses) and the Celtic score of Lorne Balfe benefits from a significant definition. Less orderly in space, however, the VF encoded in Dolby Digital 5.1 does not lack any vigour (energy as power is there) or degility (spaceization remains there). On the other hand, big disappointment about the absence of the song Imprise (interpreted by Mylene Farmer) at the end credits.
Transformers: Rise of the Beasts
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
Apart from the video noise (on the source) during rare isolated plans, this UHD Dolby Vision transfer ticks all the expected boxes coming from a large machine captured in digital... Gloss, clarity, robustness and generosity, which WCG and HDR technologies can easily multiply against the most monotonous Blu-ray. The encoding follows the pace perfectly, the levels of detail are stunning (everything is divinely textured), the colorimetric palette has a lot of punch (primary « Get out. » The contrasts are extremely bright (blacks are hard-wearing and whites dazzle), and the high dynamic range presses the reflections on the bodywork and breathes shine at the slightest light source (the heat of explosions is insane). Wow!
• Soundtrack : English and French Dolby Atmos
If she's not as madly insane as those of the first five opus, this amazing Dolby Atmos soundtrack (in VO as in VF) is still to roar with pleasure. Loaded with quaint effects and with a relentless dynamic, it stands out from the all-coming by absolutely monstrous basses and a wildly busy rear scene (each action scene proves it). The dialogues are clear, the absolute acoustic immersion, the fabulously hierarchical sound objects (with an aerial scene always at the same time) and the score of Jongnic Bontemps removed. Even more powerful than his conœur and mixed at a slightly higher level, the VF dominates for once the arena... Especially as its dubbing (Dorothy is Airazor, Mister V is Mirage and Olympic Winter is Arcee), showing a remarkable presence on the plant (without the atmosphere being impacted), is a frank success. The best French track in the market? Maybe I am! Can you continue Paramount Pictures France?
The Guardians of the Galaxy Vol. 3
• Video format : 2160p24 – Ratio 2.39 and 1.90 – HDR10 / BT.2020 – HEVC encoding – DI 4K
Captured exclusively with digital cameras Red (6K and 8K) but displaying a beautiful silver texture (more supplied than in HD) added in post-production, the images of this UHD HDR10 transfer, resulting from a DI 4K and alternating ratios (2.39 and 1.90 IMAX), benefit from a notable increase in details (the backgrounds in the background, the fur of animals, scarifications on Drax's face, the textile fiber of the various outfits) without however denying the (relative) softness of all cinematic photography. Darker than in CSD but with much better management of high luminances (flames, rays of light behind clouds, reflections on metal surfaces, artificial lighting) without pushing too much light intensity (a measured average of 208 nits), they display more assertive contrasts (cf. the realism of blacks when encountering the Abilisks). As for colorimetry, a little warmer on the whole spectrum, it adds richness to many shades (the orange-coloured walls on OrgoCorp, the golden carnation of the Sovereigns, the spatial combinations with vintage colors). Even if the compression is solid (no artefact or color banding), it is clear that the flow is not very high (an average bitrate of 43 Mbps).
• Soundtrack : English Dolby Atmos, French Dolby Digital Plus 7.1
While it is necessary to increase the volume to taste all the flavors, this 3D soundtrack does not suffer from the syndrome « Dolby Atmouse » Since dynamics (insured) and bass (physical) are not at all weighted. And taking advantage of a perfectly scripted verticality (Rocket that works on the ceiling with its gravitational boots, ships that regularly fly over the action, electrical projections during a short circuit, etc.) that the Blu-ray's DTS-HD MA 7.1 mixing cannot dispatch, it amplifies the immersion generated by an already prominent horizontal stratum (ambient sounds and pyrotechnic effects abound in both front and back). The voices that can walk from one speaker to another are clear and the Awesome Mix of John Murphy (coupled with an eclectic soundtrack) particularly enveloping. Despite a less rampant spatialization (wherein the interest of enabling a virtual DSP to recover some information in the heights) and a diminished power, the VF Dolby Digital Plus 7.1 remains a very engaging soundtrack with rather cool dubbing.
Hunt (2022)
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
With four pins drawn, this custom-made UHD Dolby Vision transfer magnifies the splendid photography of Lee Mo-gae. The definition does not weaken at any time (fineness inhabits each plane), the piqué is even sharper than in HD (the precision of faces and costumes, the subtlety of textures, the refinement of the background), the colorimetric palette with a cold trend benefits from a deepening of the blues and orange yellows, the contrasts appear as more nuanced (the gamma value has been lowered) with more sustained blacks and more elegant whites, and the light sources (inner lamps, daylight, urban lighting) appear more boldly.
• Soundtrack : Korean and French DTS-HD MA 5.1
Supported by the Haletante partition of Jo Yeong-wook which fully occupies space, this soundtrack encoded in DTS-HD MA 5.1 is provided with accurate spatialization and excellent dynamic (as soon as the action comes). Balanced, it provides both front and back (the surrounding scene is engaging) immersive atmospheres (offices, streets) and spectacular effects. Dialogues are clear and bass often present (firearm detonations, deflagrations). Too detached from the rest of the mix, the dubbing (but convincing) of the VF (mixed at a higher level than its Korean consœur) comes to make the listening fake despite a complete development and an assured scale.
The Woman King
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
From a digital capture, these breathtaking images (see the wild beauty of natural scenery) are significantly improved by this UHD Dolby Vision transfer from a DI 4K. Clearer and less subject to digital grain (still present on a few planes), they present refined details that allow injured bodies (scars), sweat beads, the complexity of fabrics and other clay decorations to gain clarity. In favour of earthy red hues (the African soil), the colorimetric palette sees its primarys intensified (clothes, vegetation, blood) and its carnation assaine. And with regard to contrasts (of paramount importance in dark scenes where the night and skin of actresses could easily have been confused) and light sources, the depth of the blacks was improved, the brightness of the whites enhanced and the brightness of the lights enhanced.
• Soundtrack : English Dolby Atmos, French DTS-HD MA 5.1
Engaging and full of power, the Dolby Atmos soundtrack reserved for the VO plunges us ferocity into the heart of the story. The dynamic range is remarkable, space activity is well distributed with mobilized rears (chaos of battles, fauna and flora, crackling embers) and high channels called to rescue when it heats (as soon as there is action in short), the ethnic and orchestral score is as wide as enveloping, the dialogues are clear and the LFE channel hits hard (guns fired, shots fired, gunpowder explosions). A little less thundering, the VF 5.1 encoded in DTS-HD MA is a good balanced track. The spatialization remains and dubbing, neat, impeccably integrates with the original mixing.
65: The Earth Before
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
Captured at a 6K resolution with Sony's VENICE digital camera and finalized in 4K, the image worked by Salvatore Totino (a fadasse photograph without an ounce of identity even so pleasantly cinematic in its rendering) is returned with the utmost care by this UHD Dolby Vision transfer close to perfection (a little noise here and there even if better managed than on the Blu-ray). The details are clearer (precision of close-up planes, textures of the skin, clarity of environments), the deeper colorimetric palette (terrous shades, carnation) with more vibrant primary (including reds and blues), reinforced contrasts (a boon since much of the action takes place at night) with deeper blacks and brighter whites, and enhanced light sources (sweetness, sunlight, gun flashes, computer terminal intensity, torches heat, meteorite flaming).
• Soundtrack : English Dolby Atmos, French DTS-HD MA 5.1
Barded with effects and ambiance (the forest environment comes to life), the enveloping and stunning Dolby Atmos track will push your HC installation into its last cuts. The soundscape is lush (the fauna and flora are palpable), the monster dynamics (the emergency landing), the field surround engaged, the deceiving aerial scene (reverberations in the cave, the fall of meteorites, the roaring of giant reptiles), the clear dialogues, the powerfully delivered score (composed by Chris Bacon in collaboration with Danny Elfman) and huge bass (with many impacts at the bottom of the spectrum). Less committed spatially, the VF proposed in DTS-HD MA 5.1 still remains very spectacular.
Top Foreign Exclusives
Avalonia, strange journey
‹ American edition test >
• Video format : 2160p24 – Ratio 2.39 – HDR10 / BT.2020 – HEVC encoding – DI 2K
While it is true that the Blu-ray image is more luminous (a little to excess), that of this UHD HDR10 transfer is otherwise more nuanced and authentic. Already revealing a better clarity where the details reveal themselves more (the texture of the creatures, the hairs of the face, the interior of the giant dirigible, the surroundings), it takes advantage of a max of the increased fasciosity of the colorimetric palette (the profusion of fuchsias, the greens of the vegetation of Avalonia, the orange sky), the enhancement of contrasts (the more penetrating blacks and the more natural whites) and the extended vivacity of light sources (inner lighting, venous illumination of the roots, the blue shine emanating from the interior of Splat, flames).
• Soundtrack : English Dolby Atmos, French (Quebec) Dolby Digital Plus 7.1
Far from wandering « Dolby Atmouse » which we know only too well, the surprising VO 3D surprises with its acoustic richness and depth. The dynamics are really enthusiastic, the basses do not lack bodies (explosions, engines), the spatialisation which is exemplary develops palpable effects/ambiences (the noises of living organisms), the surround enclosures do not miss any opportunity to be noticed, the aerial scene is part of the crew (flying gears, debris falls, winged animals), the score resulting in Henry Jackman irradiates and the voices, to which it may happen to leave the plant, are of great clarity. If this new world comes to life, there too, all around the audience and with what it takes of power by selecting the VFQ (very little accentuated) encoded in Dolby Digital More than 7.1, this soundtrack is not so frequented at the back and is deprived of vertical calls (even if activation of a virtualization DSP makes it possible to recover a certain number).
Hypnotic (2023)
‹ German edition test >
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
Captured digitally in 6K before being finalized in 4K, the tape-to-eye image of the chef op Pablo Berron and the director Robert Rodriguez (Alita: Battle Angel) is beautifully reproduced by this UHD Dolby Vision transfer with really imperturbable encoding (in the image of Ben Affleck). The slight falsely organic patina is more lively and the details, much sharper than in HD (facial hairiness, skin aging, clothing textures), give the impression that the Blu-ray is blurred (see the precision of the background)... Especially as the visible improvement of the contrast ratio (blacks are richer and whites bolder) increases the three-dimensionality of the planes (the shade and light zones being better defined). The calibration of the colors which preserves its warm and earthy hues sees its primarys extended (the reds are more intense, the deeper blues and the more pronounced greens) and the light sources display with a great shine (light of day, the neons of the front of the hypnosis, the ceiling lights in the Division premises).
• Soundtrack : English and German Dolby Atmos
With a fully controlled spatialization (a fully immersive 3D sound field) and a feverish dynamic (a real acoustic deflagration as soon as the action occurs), this remarkable Dolby Atmos soundtrack is also supported by a powerful LFE channel (the detonations slam, the motors roar and the carambolages go far into the grave). The dialogues are of great clarity, the location of the ambient noises always appropriate (whether they are at the front, the back or the heights) and the musical envelope amply multichannel.
To the west nothing new (2022)
‹ German edition test >
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
If the shadow of death is flat (the nightmare paintings where smoke, dust and dirt have become home), the photograph of James Friend The narrative of naturalistic visions so that beauty (nature and life) still survives the monstrosity (war machine and death). The coldness of the colorimetric palette with deliberately desaturated colors is punctually « heated » by some welcome primarys (flame, green forest), the details are constantly highlighted (cf. surgical accuracy of tired faces, crushed skins, damaged uniforms, bodily injuries, muddy floors and damaged buildings), the contrast rate has a nice firmness and the light sources (explosions, daylight, inflamed liquid of flame-throwers, interior lighting of Wagon 2419D) are displayed with always opportune brightness. Compared to the Blu-ray included in this mediabook edition, the images here are more impacting thanks to a higher HEVC compression (no artifact on the horizon), an even more robust pique, more balanced shades (including grey blue tones during dark scenes) and increased brightness.
• Soundtrack : German Dolby Atmos, English DTS-HD MA 5.1, French (Parisian) Dolby Digital 5.1
While the gusts of machine guns and the rumbling of the guns break at regular intervals the elegiac silence of expectations and observations, the disconcerting music of Volker Bertelmann (clear crates and three electronic notes) comes to shake our guts when it evokes the combat sirens. To be preferred for immersion, the VO Dolby Atmos takes advantage of a dynamic that flies as soon as it can, of assuming basses, of vigorous spatialization that engulfs the back (the chaos in the no mans land) and the heights (the rustling of the trees, the hovering of the monoseats) over the duration, of a voluminous score and of voices whose clarity is never attenuated. Far from being as combative as insufficiently armed (a less warlike dynamic and a somewhat dull LFE channel), the VF Dolby Digital 5.1 cannot oppose its 3D friend.
It Follow-up
‹ British edition test >
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
Endorsed by the director, this new master 4K produced from the source of origin exploited during the post-production (the existing DI 2K was therefore not used here) is simply stunning and significantly improves the yet worthy rendering of the Blu-ray published by Metropolitan Video on June 4, 2015. The few tinglings are from ancient history, the definition has made a leap forward (the buildings decrepit in the background) and the details are returned with more finesse (the texture of the skin, textile fibres of clothing, sandy floor, road coverings, etc.). The colorimetric palette benefits from more enterprising primaries (reds and blues benefit from a hard vibrance) and more lush secondary ones (vegetation), the previously blafard carnation covers health and the range of contrasts has significantly widened, reinforcing the impact of light sources (public lighting, reflections on bodywork, daylight) and the disturbing depth of darkness (blacks are mirific).
• Soundtrack : English Dolby Atmos, English DTS-HD MA 5.1
Approved by the director, this new Dolby Atmos mix takes over the elements of the previous track DTS-HD MA 5.1 (present on the disc) by calming the music (it no longer takes the step on the rest), adding height effects and improving bass. In fact, we are invited to an even more realistic hearing experience... The spatialisation increases in precision (every noise sounds much better), the soundscape is immersive to the possible (environments unfold at 360°, off-the-ground effects worry and aerial channels add a layer), the dialogues strictly exuded by the power station seem natural and the anxiogenic composition of the Disasterpeace, supported by a vigorous LFE channel (infra-low is there to make it uncomfortable), still remains the star.
The Lighthouse (2019)
‹ British edition test >
• Video format : 2160p24 – Ratio 1.19 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
Following the German expressionism of the 1920s, this photograph with sepulchral beauty (a sumptuous black and white that highlights the ambient mist and plays with the threatening presence of light) tending towards the orthochromatic dsantan was captured in 35 mm in format 1.19 (a reduced frame) to reinforce the confinement of the two characters (isolated in confined places). This UHD Dolby Vision transfer reproduces with much more finesse than its HD counterpart (published in 2020 via Universal Pictures). The thick but always uniform grain that moves with stability is perfectly supported by compression (a constant flow that exceeds 80 mpbs), the pique and the fine details benefit from a not negligible improvement clearly perceptible (the mustache of Ephraim, the wrinkles of Thomas, the weaving of clothes, the roughness of the landscapes, the dilapidation of the installations), the shades of grey seem infinite (point of shiftization here), the contrast ratio is even more astonishing with its incredibly dense blacks (regulate properly your diffuser) and its episodicly blinding whites (voluntarily more troublesome by day), and the light sources impose their truth by burning reflections (cf. the parabolic mirrors of the lighthouse).
• Soundtrack : English DTS-HD MA 5.1
Atmospheric (the permanent resac of the sea) and very aggressive (many strident effects), this agonizing soundtrack (the stubborn lamentation of the lighthouse) which remains no less subtle (the felted dialogues) is long-lasting. The dynamics are vehement (the storm), the natural elements fully occupy the space (the wild nature, the seagulls), the partition of Mark Korven painfully penetrates the mind, the LFE channel is not there to laugh (the fog horn) and the clarity of the voices remains despite the accents of the 19th century.
Top works of heritage
The Fifth Element
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
Compared to previous Blu-ray releases, this UHD version upgrades them in all fields... The image has been completely cleaned, the silver grain (a Super 35 capture) is more organic without excess, the definition is more stable, the details are much thinner (the textures gain in sharpness), the depth of field is like tenfold, the colorimetric palette that is warmer displays brighter and deeper colors (the orange tank top of Korben Dallas, the blue skin of the Diva Plavalaguna), the contrasts are more chiseled (richer blacks and purer whites), and the light sources are much more intense (the stars in the vastness of space, the different ceilings, the monitors of the presidential command post, the multiple explosions, the projectors during the stage of the opera, the reactors of the space ships). And since the Master Dolby Vision operated by Studiocanal in 2020 in British territory, the differences are notable with the 4K Ultra HD HDR10 published by Sony Pictures in 2017 in the United States... The compression is better (the tinglings have strayed into the premises of Zorg Industries), the much more natural tingling (the strengthening of the contours left with the Mondoshawan three centuries ago), the filmic texture still refined, the color grading more golden (the carnation is otherwise warmer), the luminosity raised with a correction and the rate of contrasts less hard (the dark scenes are produced). Undoubtedly, the full power
• Soundtrack : English Dolby Atmos, French DTS-HD MA 5.1
Compared to previous Blu-ray releases, this UHD version upgrades them in all fields... The image has been completely cleaned, the silver grain (a Super 35 capture) is more organic without excess, the definition is more stable, the details are much thinner (the textures gain in sharpness), the depth of field is like tenfold, the colorimetric palette that is warmer displays brighter and deeper colors (the orange tank top of Korben Dallas, the blue skin of the Diva Plavalaguna), the contrasts are more chiseled (richer blacks and purer whites), and the light sources are much more intense (the stars in the vastness of space, the different ceilings, the monitors of the presidential command post, the multiple explosions, the projectors during the stage of the opera, the reactors of the space ships). And since the Master Dolby Vision operated by Studiocanal in 2020 in British territory, the differences are notable with the 4K Ultra HD HDR10 published by Sony Pictures in 2017 in the United States... The compression is better (the tinglings have strayed into the premises of Zorg Industries), the much more natural tingling (the strengthening of the contours left with the Mondoshawan three centuries ago), the filmic texture still refined, the color grading more golden (the carnation is otherwise warmer), the luminosity raised with a correction and the rate of contrasts less hard (the dark scenes are produced). Undoubtedly, the full powerEric Serra A Dolby Atmos mix of anthology (reserved for the VO) where the atmospheres literally envelop the audience (the New York airport, the reception on the Fhloston Paradise) and where explosive action scenes fill their ears. The dynamics are phenomenal, the completely insane spatialisation (the radio host show), the back stage in perpetual motion, the effects of animated height (reverberation of voices, air traffic, the blast of explosions, etc.), the music of
Ronin
‹ American edition test ultra-ample, integration of precise dialogues and titanium bass (from first notes by the way). Even if less extensive and striking, the VF DTS-HD MA 5.1 ensures the spectacle since very fishing and generous on all channels.
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
(unpublished in France) > Robert Fraisse and deepens the darkest tones, supported for this by more assertive contrasts giving blacks a completely different density and whites an exalted radiance. It is not for nothing that the light sources (reflections on the bodies, the sun, lightnings at the exit of the guns) shine as never before.
• Soundtrack Far behind the mirror, the old Blu-ray encoded in MPEG-2 (published in April 2008 by us via MGM) is not equipped to achieve the same speed as the present UHD Dolby Vision transfer (the perfection of which is hampered by a stealthy vertical line) resulting from a new 4K scan of the original 35 mm negative (in Super 35 format). For your information, the HD disk included in the edition will embed the enhanced transfer. Particularly robust thanks to an exemplary encoding, the image delivers a silver patina of beautiful finesse and details of fantastic precision (pores of the skin, weaving of clothes, paved streets). With great clarity and profiting from a leap of definition far from being annoyed, it delimits in fact the least corners of the wide frame (cf. the sharpness of the background) with an obvious superiority vis-à-vis its counterpart 1080p, whose softness of the pique is more than a distant memory. Avoiding primary (more luxuriant when they appear) as much as possible, the almost monochromatic colorimetric palette balances the steel shades of the signed photograph
While the music ofElia Cmíral is reduced to its strict minimum, the dynamic power of this multi-channel soundtrack starts by simmering alongside a spatialisation of the city giving to heart joy in road traffic (we keep the steering wheel !). The explosions fully exploit the LFE channel, the shots and other collisions are not lacking in scope, the dialogues are exuded efficiently by the power station and the beaches « silent » sound distribution (effects such as atmospheres invest the rears not without regularity) as realistic as that of passages where pyrotechnics predominate.
Asterix & Obelix: Cleopatra Mission
• Video format : 2160p24 – Ratio 2.39 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
With regard to one of the first French feature films to have been shot in 35 mm and then post-produced in digital, Pathé and the Hiventy studio had to turn back unassembled negatives (more than 300 reels of film that had to be cleaned and scanned in 4K). Under the supervision of the production manager Cyril Contejean and the Director of Photography Laurent Dailland, the whole post-production has therefore been carefully reworked (the white dots, hair and other dirt have been perfectly removed), between artisanal methods and modernism (the Topaz software allowing to deupscalate the digital riggings, stored on DTF cassettes, without modifying them). It should be noted that this restoration took place in four dissimilar colorimetric spaces, in the case of the SDR DCI-P3 (for the SDR cinemas), the HDR DCI-P3 D65 (for the HDR cinemas), the SDR Rec. 709 (for the Blu-ray) and the HDR BT 2020 (for the 4K Ultra HD). Deprived of Blu-ray in France until then (unlike Germany and his outdated HD master), that is little to say that the images have redone a beauty... The definitional contribution that jumps to the eyes brings an additional (large) veil of sharpness (evidence on the moustaches/barbs and during the plan referring to the Radeau de La Méduse), many details are recovered (cannot miss that Sicily is called "Mafia" on the map of Europe, that one of the pirates throws in water with a duck buoy and that an Easter egg is stored on the architect's table during the song I Feel Good), the integration of the CGIs is much better (the boats on the Nile) despite a somewhat hard rendering (the wide plans of the César Palace) and the silver texture, wonderfully preserved, benefits from a solid HEVC encoding (except for a few curiously fuzzy seconds). The new calibration in which the orange-yellows reign finds colors (they had been faded since its video release), is adorned with more bright shades (the blue sky, the red cape of Panoramix) and brilliant (the gilding), strengthens the carnation and heavy old drifts (green on the DVD and rosé on the Blu-ray). The value of the contrasts, finally liberated, shows deep unblocked blacks (the « visit » of the pyramid) and whites with the purity found (the snow, the hairs of Idefix), and the light sources particularly solar increase in intensity without any devolture (not deceptive shine here).
• Soundtrack French Dolby Atmos
Forget the off-topic reserve of previous soundtracks (Dolby Digital 5.1 for the French DVD and DTS-HD MA 5.1 for the German Blu-ray) and enjoy a Dolby Atmos expansive soundtrack inhabited by a cartoon fever. Dynamic and very well distributed (it must be said that the new mixing was carried out in collaboration with the sound mixer Thierry Lebon), it benefits from a very detailed localisation of its many effects and the asserted presence of its score. The dialogues are clear (like the echoes that are heard according to the places visited), the spatialization is marked, the rear enclosures are agitated, the verticality of the mixing balances everything that it can (the fauna, the activation of magical powers, the spears of Romans, the extra-fast thrust of trees, the projections of rocks, the flight of doves) and the resumption in the serious astonishment (cf. activation of catapults).
Millennium Mambo
• Video format : 2160p24 – Ratio 1.85 – Dolby Vision / BT.2020 – HEVC encoding – DI 4K
Exposed in Dolby Vision (the HDR calibration was commissioned by the publisher for the design of this edition), this 4K restoration carried out in 2021 by the laboratory L Mark Lee Ping Bin. The master is as stable as it is clean, the silver patina has been fully preserved (unlike many restorations initiated by Asia), the contribution in terms of definition is significant (the innumerable blurries of the lens are an artistic will), the fineness of details knows a good forward indisputable (faces, furniture in the first plane) and the compression, despite the difficulty of several passages, is imperturbable. The particularly bigrated and extensively worked colorimetric palette displays generously without having to suffer from the usual drifts of the laboratory (the fidelity to the source is therefore preserved), the contrasts that are optimal deliver measured deep blacks and aerial whites (the snow mantle in Japan), and the light sources come innerver night-clubs and apartments with new acuity (cf. black light).
• Soundtrack : Mandarin DTS-HD MA 5.1 (STFR)
While the musical loops of Lim Giong (an intoxicating techno score that mixes zenitude and hovering) overlap and repeat each other in order to dilute the human voice (which remains intelligible on the central speaker), this soundtrack essentially frontal (the rear channels distill some atmospheres) resulting from an original magnetic mixing, deploys a dynamic highly suitable (when the box music resonates) despite a certain lack of roundness (the bass are very light).
The Others (2001)
• Video format : 2160p24 – Ratio 1.85 – CSD / BT.709 – HEVC encoding – DI 4K
From a new scan of the original negatives 35 mm and supervised as closely as possible by Alejandro Amenábar, this beautiful 4K restoration is presented to us in CSD at the request of the latter, in order to avoid the modernization of the elegant photograph signed Javier Aguirresarobe where the clair-obscur (cf. the creeping shadows caused by the old oil lamps) has all its importance. The silver texture (fine and homogeneous) has been preserved with manic care, the defects of the film have been almost completely cleaned (small white dots of this one), the definition has made a big leap forward (the chained melts are necessarily slightly below) and the details are otherwise clearer than in the past (the close-ups on faces, woodwork, textile fibres). The colorimetric palette that is no longer haunted by the yellowish drifts of the previous Blu-ray is more natural (the shades are colder) and has a much healthier carnation (Grace regains its white skin as snow), the management of blacks (just sublime) and impressionist lighting (which benefits from slightly enhanced whites) is particularly meticulous, and the encoding does not suffer from any braiding.
• Soundtrack : English Dolby Atmos, French DTS-HD MA 5.1
Proposed in Dolby Atmos, the remixing of the VO is significantly subtle and honours its origins religiously. As soon as the anguish enters the home, it perfectly balances the omnipresence of its dialogues (always clear), the memorable rarity of its sound effects (the whispers, the shouting of the doors, the gnashing of the wood), the emanation of its score and the successions of its silences. The sound distribution is ultra-precise, the surrounds knock on the door when you expect the least (the notes played on the piano), the verticality of the mixing is amazing (the noises of step on the ceiling) and the felted atmospheres permeate the places. If the bass box is very little exploited, it is because the narrative does not feel the need. Unchanged from the 1080p disc, the VF encoded in DTS-HD MA 5.1 shows a beautiful acoustic address (spaceization is the office) and of certain magnitude. The dubbing is well incorporated into the mixing and the different channels are properly pressed. Certainly not as amazing as his 3D friend, this frankly capable soundtrack does not detract in any way.
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