Best 4K Blu-ray from 2024

Furiosa: Mad Max saga

Source France | Publisher : Warner Bros. | Release date : 02 October 2024

• Video format : 2160p24 | Ratio 2.39 – Dolby Vision | BT.2020 – HEVC encoding | DI 4K
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 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 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) radianceFnac

), 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! 

• Soundtrack : English and French Dolby Atmos
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 (in particular at the Moulin à Balles) and the visceral score of Junkie XL, whose volume has been increased compared to the cinema mix, conquers space with a prodigious magnitude. A hell experience for a DEMO TOP already inscribed in the legend!