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.
Contents
The first in the class
Blade Runner 2049
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.40 – DI 4K
If perfection is not of this world, it still radiates every shot of this Ultra HD Blu-ray. And it's so much better because the magnificent photograph concocted by Roger Deakins deserves to be contemplated in all his magnificence. The definition does not suffer from any diet decline and delivers images with phenomenal precision, the details are even more frank than in HD thanks to a veil of extra sharpness (the facial hair of Ryan Gosling and Harrison Ford, the sand grains, the runoff of rainwater, the snow coat), the depth of field also makes a leap forward, the sublime colorimetric palette expresses itself with more subtlety (the greys of Los Angeles polluted, the yellows of Wallace Corporation HQ, the oranges of the prohibited zone), the contrasts continually impress, the light sources are more radiant (urban advertisements and other advertising holograms, neons) and the dark scenes, thanks to new shades of blacks, breathe better. A first-rate visual slap!
• Sound tracks : English Dolby Atmos, French DTS-HD MA 5.1
Whether you opt for the VO (Dolby Atmos) or the VF (DTS-HD MA 5.1), it is two soundtracks of anthology. Of course, the first one benefits from a better rear opening (addition of the back surrounds) and from a vertical scene far from being annodine (torrential rain, snow, wind, the atmosphere of the city, the flight of Spinners, etc.), but the second one is also good on the other components of this masterful mix with a clean style. We therefore have clear voices, a dynamic with unequivocal power, an optimal distribution of effects (the buzzing of bees, the trajectory of flying machines), an electro-experimental score with deaf sounds and gliding flights (Hans Zimmer and Benjamin Wallfisch managed to respect the spirit of the original score of Vangelis) particularly large, and overpowering basses that regularly put the LFE channel to the test. An auditory treat every moment!
Dragons 3: The Hidden World
• Video format : 3840×2160 / 24p – HDR10/ BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.35 – DI 2K
Technically (and artistically) irreproachable, the image delivered by this 4K Ultra HD is to fall. Improving the sharpness and increasing the details visible on the screen (the texture of costumes and decors), it adds to this fabulous definition of the superbly saturated colors infinitely more alive than on Blu-ray (the blue of the sky, the green of the vegetation, the dresses -and the eggs - with the various shades of dragons), reinforced contrasts that darken the frame and add depth to the blacks, and light sources that shine with a thousand fires (the hidden world, daylight, flames). A visual demonstration of every moment.
• Sound tracks : English Dolby Atmos, French Dolby Digital Plus 7.1
Never missing commitment in all areas of listening, the VO Atmos is a balanced and dynamic track that has directional effects from everywhere (there is a lot going on in the air with dragon wing beats, the breath of the air, the threatening presence of fire and various debris), subtle environmental atmospheres, a good airy score, powerful basses and clear voices. Effective even if less extensive and precise, the VF remains more than correct.
Transformers: The Last Knight
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.90 IMAX, 2.00 and 2.39 – DI 2K
When you grab your jaw so beautiful, this phenomenal visual slam, with its terrifying sharpness and dazzling brightness make you feel, delivers a delusional definition (as if you were at your window looking out!), a staggering level of detail (a very perceptible gain vis-à-vis the HD master), an unthinkable depth of field, wonderful solar colors, contrasts of a solidity to any test and glorious blacks. The colorimetric palette is much wider (the energetic yellow of Bumblebee, the fiery orange of the sun, the deep blue of the sky, the nuanced green of the lawns) with even warmer hues, the flames and explosions are more ardent, the small reflections and the shines are more sparkling (it is clearly visible on the metal bodies of the Transformers), the light sources are much brighter and the dark scenes are open (the flashback during the Second World War).
• Sound tracks : 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
To explode the eardrums so rich and powerful acoustically speaking, this Atmos soundtrack that breaks the barrack is a particularly immersive and tastyly balanced experience. The dynamic breaks everything in its passage, the dialogues are always clear, the spatialisation is incredible precision, the pyrotechnic effects make sensation, the atmospheres are enveloping, the front scene is in permanent effervescence, the use of the surround channels is generous, the high sounds are not lacking (fire balls, flying means of transport, echoes, deflagrations, etc.), the music is large and the low frequencies colossal. While the VF obviously cannot compete, it remains consistent and very energetic.
Aquaman
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.78 IMAX and 2.39 – DI 2K
A visual storm calibrated in Dolby Vision that delivers a slightly increased definition (the Blu-ray being already top), finer details on the screen (the pores of the skin, the costumes, the decors, the fauna of Atlantis), an even more surprising explosive colorimetric palette (cf. the seabed) because more vibrant (higher reds, deeper blues, amber yellows), bolder contrasts (brighter whites and richer blacks) that accentuate the brightness of the frame and the three-dimensionality of the planes under the water, and highly demonstrative lighting sources that benefit from a brighter radiation (the reflections of the sun, the bioluminescence of the depths, the glow of explosions, etc.). Regardless of the image ratio used (85% in IMAX 1.78 and 15% in format 2.39), this 4K Ultra HD fills the view.
• Sound tracks : English and French Dolby Atmos, English and French DTS-HD MA 5.1
The Dolby Atmos (DTS-HD untested) mix is a demonstration of strength and a formidable efficiency. It enjoys a (very) large dynamic range and deploys all the speakers at its disposal without dropping the pressure. Effects such as atmospheres emanate with precision from all sides (the surrounds are well nourished), Rupert Gregson-Williams' score pierces the hatches with force, the LFE channel regularly balances surprising infragraves, and the voices are all intelligible (in both VO and VF). As for the aerial scene, it unfolds generously when the narrative commands it (submarine immersion, gunshots, seagulls, echoes, nautical vehicles, the presence in height of certain characters and j
Gemini Man
• Video format : 3840×2160 / 60p – Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.85 – DI 4K
Second edition of the market to offer HFR 60 fps after One day in Billy Lynn's life (the previous film from Ang Lee), this 4K Ultra HD invites us to a visual show of hyperrealism to « if the retina is removed ». A fluidity to any test (limiting the 24 images per second requires the Blu-ray to keep the blurred movements) and surgical sharpness (as the plans remain stable, the elements of the frame are excessively detailed), these UHD Dolby Vision images from a DI 4K project what the human eye perceives in the real world. And to help them in this noble task, compression follows the pace without browing, the definition is highly superior to HD transfer, the WCG enhances the vitality of the primary while maintaining the natural appearance of the colors, and the HDR strengthens the contrasts (the film is brighter) in addition to considerably intensifying the lighting of all the sequences.
• Sound tracks : 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
With a fierce dynamic (the impact of the shots) and ultra-realistic spatialisation (the « sound objects » The Dolby Atmos soundtrack, reserved for the VO (the VF is much less physical and immersive) is an acoustic demonstration of every moment. Multichannel activity is incessant, with channels of height included (passage of an aircraft, « jumping a motorcycle »The LFE channel is extremely well used for serious and infra-graves (especially stirring), and voices enjoy a beautiful presence.
One day in Billy Lynn's life
• Video format : 3840×2160 / 60p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 1.85 – DI 4K
Well helped by the rate of 60fps (unpublished during its release in 2017) which greatly improves fluidity, this hyper-defined, detailed UHD transfer (significant increase vis-à-vis HD image), colorful and contrasting is perfectly surreal. The colorimetric palette is more nuanced and more saturated, the whites are more petant, the scenes in low light are more discernible while the blacks are darker, and the lights are much more sparkling (the projectors of the stadium).
• Sound tracks : 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
A rich acoustic experience that literally swallows the listener several times (the announcements and crowd of the stadium, the performance of the half-time and the military operation), with a presence and energy of striking realism.
1917
• Video format : 3840×2160 / 24p - HDR10+ / Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.39 – DI 4K
Traumatized by the trenches, the Blu-ray (fade and little detailed in comparison) does not manage to overcome the stakes that are being played where its UHD counterpart is in full possession of its means (pique de folie, calibration designed for the HDR versions, high luminances better capped, lighting of a disconcerting natural). Deploying magnificent images, the capabilities of the support prove unreservedly to emerge victorious from the military conflict.
• Sound tracks : English Dolby Atmos, French Dolby Digital Plus 7.1
There, on the other hand, he smacks the same assets... i.e. an enveloping 3D mixing that dispatches his air force and makes the powder speak when necessary. A very immersive soundtrack that plunges us into the heart of no man!
Joker
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.85 – DI 4K
The visual power of the work is transcended by an extremely detailed 4K Dolby Vision transfer to the falsely silveric texture of an absolute refinement, with somewhat unsaturated colours and more flamboyant lighting.
• Sound tracks : English and French Dolby Atmos, English and French DTS-HD MA 5.1
One « madness » sound that overflows at every moment thanks to a 3D mixing (dTS-HD MA soundtrack not tested) at the welcome sobriety where urban atmospheres spread sneakyly in the spherical space and where the score really has a lot of weight.
Passengers
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
Whether in HD or UHD, the clean and luminous image of the work is just sublime. The clarity is dazzling, the stunning definition, the striking details (even if there is a shortage of details on the comic book -cf. the background of the decorations, Jim's hairiness or the skin texture of Aurora-), the extraordinary colorimetric palette and contrasts to the tablet. In front of the Blu-ray, the colors are richer (blue and bitrate tones) and saturated (dark red tones) which are somewhat warmed (the sequences in the bar), much more petant whites, multiply stars because much more sparkling, more energetic lighting (neon, holograms) and blacks at increased depth.
• Sound tracks : 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
An exemplary Dolby Atmos blend that ensures acoustic performance with goldsmith precision and Herculean power. The dialogues are clear, the spatialization is ultra-enveloping, the front scene is extremely dynamic, the effects (the barman's movements, the impacts of the asteroids) and atmospheres (the ship's noises, the mood music, the pressure under the water) are very close, the rear scene gives all that it has, the score is just as fair as it is wide, and the bass are busy shaking the sound space (the thrust of the reactor) with what is needed of weight and impact. As far as the height channels are concerned, they are solicited as soon as the narrative requires (breathing of the characters in their combination, waterfalls, alarms, escape of flames, etc.), i.e. quite often. While VF SD remains more than conclusive, it nevertheless suffers from comparison, even at the level of the density of the surrounds.
Mortal Engines
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.39 – DI 4K
Simply splendid, the images of this UHD Dolby Vision transfer (tournage 8K and DI 4K) do not cease to magnify the superb artistic direction of the work. Visually very impressive, they display an even more astonishing definition than in HD (the contribution is obvious on the decors), prodigious details, otherwise more precise than on the example Blu-ray (the textures benefit from an increased finesse), granularity to absent subscribers, Fabulous colors much wider and nuanced (Hester Shaw's red scarf, Shrike's green eyes), much more sumptuous contrasts (the dark scenes enjoy much denser blacks and white clouds are brighter) and considerably more luminous light sources (the sun, flames, interior lighting, the sights of the cockpits and machines of the great mobile city of London). In a word as in a hundred, a reference!
• Sound tracks : English Dolby Atmos, French Dolby Digital Plus 7.1
Ultra-engaging and endowed with a monster dynamic, the Dolby Atmos track delivers a dreadfully immersive acoustic spectacle and unheard of richness. The spatialisation occupies space as rarely (the sounds travel regularly at 360°), the effects like the atmospheres (the incessant metallic noise of the predatory city and Scuttlebug) are broadcast with precision and magnitude on all the enclosures, the surrounding canals are extremely busy, the aerial sphere is as inventive as it is intelligently exploited (London which « devour » the small mining town of Salzhakendes, the passage in the « sawmill », wind, flying gear, flashes caused by activation of MEDUSA, etc.), Junkie XL's score (Tom Holkenborg) pulses properly, low frequencies shake badly (constant buzzing of engines, explosions, gunshots, crashes, quantum energy of the super weapon and j-en pass), and dialogues are perfectly intelligible. The VF shoots beautifully despite a weakened power and a less abundant sound scene.
The outsiders
Alita: Battle Angel
• Video format : 3840×2160 / 24p - HDR10+ / Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.39 – DI 2K
Hatted by James Cameron himself (who also took care of SDR 2D/3D transfers), HDR encoding (10, 10+ and Dolby Vision) is rather dark. Where, for example, certain titles can reach a maximum luminance of 992 nits for an average of 518 nits (i.e. Matrix with the same op leader), we find ourselves here with a maximum luminance of 737 nits (very rarely reached) for an average of 130 nits! So there's no need to doubt the abilities of the Dynamic Ton Mapping (for the HDR10) or the Dolby Vision rendering of your broadcaster, this film is dark and it's like that. Moreover, if the SDR transfer is generally more luminous (it is far from being the only one and it is in no way a flaw that HDR encoding is less so), the shadows are much less well worked on there and many details are lost in the high luminances (especially behind the sunny windows). If the result is therefore less demonstrative in HDR, it is above all much more natural and precise. All the elements of the frame gain in precision (faces, urban landscapes), the light sources are much better composed (light of the day, reflections on metal surfaces, lighting of the bar, projectors in the arena of Motorball), the colorimetric palette to dominate orange (photography is very hot) is more beautifully saturated (cf. the primary), and the contrasts still as neat are much dense. Undoubtedly, this ultra-abouti HDR UHD transfer is one of the most beautiful of the Ultra HD 4K support.
• Sound tracks : English Dolby AtmosExclusively captured with large-format cameras (Panavision 65 mm and IMAX 65 mm), meticulously digitized in 8K and then passed in 4K, oscillating between color (the subjective) and N&B (the lens) and carefully calibrated by Kostas Theodosiou (so that the digital version matches the analog reference print), Hoyte Van Hoytema's sumptuous photograph is perfectly returned by this indefatigable UHD HDR10 transfer (still no Dolby Vision for Nolan) that a solid compression comes to support (an average bitrate of 65.8 Mbps despite a duration of three hours). The definition is just prodigious (the panoramic views are of incredible precision), the level of detail is never seen (is the eye able to see more than that?) and the silver granularity is displayed with an insolent finesse (even if heterogeneous by the diversity of the films used). The old-fashioned photochemical calibration delivers beautifully unsaturated hues by taking advantage of the warmer shades than on the Blu-ray (it is easily noticed during the passages with Jean Tatlock, interpreted by Florence Pugh) and the HDR technology, maintained under control (red peaks of 223 bits for an average luminance of 164 cd/m2), strengthens the management of contrasts (very natural with matt blacks) for a more sensitive darkness and light sources with subtly raised radiance (sieved domestic lighting, daylight, dives into the heart of the matter, nuclear explosion). For N&B, full of shades and light
Equipped with a sound design of rare wealth, a spatialisation of madness and an impressive scale, the VO Dolby Atmos gives itself without counting. The flights of the dynamic are remarkable (the assault of the Centurions and the runs of Motorball deploy an incredible energy), the soundscape comes to life on all sides (the atmospheres overflow everywhere), the surrounding activity is constant, the aerial scene shows a real commitment (music, pyrotechnic effects, crowd noise, a presenter, etc.), the score of Tom Holkenborg (Junkie XL) is enveloping as possible, the bass express with force (from the beginning with the unloading of the waste from Zalem) and the dialogues (sometimes out of the field) are faithfully reproduced. A little less immersive and striking, VF remains dreadfully effective. In both cases, the soundtrack is thundering.
The Return
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
A truly exceptional UHD transfer that delivers hyper-realistic images thanks to an imposing definition, an incredible pique (details more corsed than in HD), natural colors, fabulous contrasts and dense blacks. The shades are more subtle (green) and slightly warmer (less sterile whites), the counter-days are sipped with more light, the sun and flames are brighter, the reflections are brighter (water) and the shadows are deeper.
• Sound tracks : English DTS-HD MA 7.1, French DTS 5.1
A very immersive VO where the sounds of nature (the rustling of the trees, the flow of the river, the blizzard) and the music of ambience are of clarity and a multichannel presence of every moment. The VF is also very good.
Fast & Furious: Hobbs & Shaw
• Video format : 3840×2160 / 24p - HDR10+ / Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.39 – DI 2K
A crazy class, this UHD Dolby Vision transfer (and also HDR10+) widens the gap with its HD counterpart in many points. The definition does not fail at any time (such as on the Blu-ray), the sharper and more subtleness gives additional details throughout the frame (the more subtle textures of faces, clothing, weapons and decors), the depth of field is more pronounced, the more frank and warm colors take advantage of the more vibrant primary (especially on the Samoa Islands where they explode!), the even bolder contrasts glorify as never before the gap between whites of absolute purity (the splendour of clouds) and blacks of exceptional richness (readability in shadows), and the light sources burst (light of the day, neons, flames, lighthouses, etc.) with a surplus of vitality far from being derisory.
• Sound tracks : English Dolby Atmos, French Dolby Digital Plus 7.1
The VO Dolby Atmos is a demonstration soundtrack where the work on immersion (between explosions, debris, aerial gear and the robotic voice of the terrorist organization Etéon, the high channels have enough to do) is equal to the punch of the bass. Despite excellent dubbing and careful spatialization, VF is anemic at the possible (dynamics to absent subscribers and LFE channel in withdrawal). In short, it is as flat as that of Battleship...the same publisher!
First Man: The First Man on the Moon
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.78 IMAX and 2.39 – DI 2K
Completely captured on film in 16mm (intimate moments and passages in the capsules), 35mm and IMAX 65mm (the sequence on the Moon), the images of this great film are very impressive. Voluntaryly retro (colours on the hold and a sustained grain) and allowing to shine controlled imperfections (white spots, scratches and dust), they are of a hypnotizing vintage beauty. And of course, it is the 4K Ultra HD support that allows the best to « living » this cinematic experience desired as visceral. The grain is better returned for a fabulous silvery rendering, the definition is even more remarkable, especially when the IMAX 65mm format (reproduced in 1.78) is arrived on the Moon, the difference is made (a field of vision of incredible immensity), the details pull out at the four corners of the frame (an increased finesse compared to the HD transfer), the colorimetric palette gets much more nuances, the contrasts are sublimated (increased brightness with more biting whites and more nuanced sumptuous blacks) and the light sources are much more intense (light of the day, stars, interior lighting, control lights, flames, reflections on helmets). A technical failure for crazyly elegant images.
• Sound tracks : English Dolby Atmos, French Dolby Digital Plus 7.1
The VO Dolby Atmos, rich in surround effects and aerial activity (the X-15 test flight, the simulator test and more generally all scenes taking place in cockpits), is a quasi-documentary soundtrack in its rendering, which actively mobilizes the sound space allocated to it to make us feel the claustrophobia of space travel (absolute silence) and the fears felt by these pioneers (the vibrations and/or cracks of the carlinguals, the clicks of the transport controls and the tingling buzz of the reactors). And in addition to being full of noises of all kinds, this mix benefits from a crazy dynamic, a wide score and roaring bass (see takeoff). For VF enthusiasts, the latter comes out admirably even if the spatialisation is less dense and the dubbing less authentic.
Parasite
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
Revealing extremely finer details than in HD (the innumerable close-ups) that the increased resolution considerably refines (see environments), this controlled UHD HDR10 transfer adds personality to the places of action (each with its own graphic paw) thanks to a hint of granularity more visible in the unsanitary apartment of Ki-taek, better drawn contrasts (the hold of the blacks), a richer grey scale (inside the luxurious contemporary home of the Park), well-enriched light sources (it is evident in the weakly lit rooms) and a more intense colorimetric palette (the green garden, the red spot).
• Sound tracks : Korean Dolby Atmos, French DTS-HD MA 5.1, Korean and French DTS-HD MA 2.0
With absolute refinement, the Korean soundtrack Dolby Atmos is fabulous. It is ultra-precise in the placement of its effects, immersive when it fills the space of atmospheres (anti-weak, deluge, flood), sometimes up to the heights (beating rain), intense when it faithfully engages music and with great clarity to spread its dialogues. It's hard under these conditions not to get into the movie. Artificially boosting the dynamics and mixing some sounds higher, the VF DTS-HD MA 5.1 is significantly less nuanced (how it rains, for example, the rain makes more noise but loses a significant number of drops!), balanced (this « Jump » in the ears when visiting the Park House) and natural (dubbing).
Heritage films
We have to save Private Ryan.
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.78 – DI 4K
Robust as a Browning M1919A4 machine gun, this UHD transfer to the new format until today (the original 1.85 ratio leaving its place to an open-matte version 1.78 for a small gain of information about the entire frame) is just sublime. The master is irreproachable, the definition makes a good forward (a new 4K master from a 6K scan of the original negatives), the details are more numerous than on the already excellent Blu-ray (cf. the surgical precision of the lines drawn, the crushed skins, damaged trellis and damaged buildings), the colorimetric palette with deliberately unsaturated colors (at 60%) is still as beautiful (especially as it recovers, without distorting the particularly harsh rendering of the images, a touch of heat well visible on the faces of the actors), the contrasts are even stronger and the light sources, in addition to gaining in burst (flames, explosions, wet soils, daylight), are no longer burned (the skys and other counter-days). As for the impressive granularity that results from an artistic bias with meaning (it gives a dirty and rough look to photography), it is perfectly restored here with a finesse absent from the HD transfer. It is very simple, thanks to the benefits of the HEVC compression (invincible square), never such a density of grains will have been so controlled on screen. A big slap!
• Sound tracks : English Dolby Atmos, English and French Dolby Digital 5.1
A demented VO that gives in the pure technical demonstration with a dynamic of madness, a muscular spatialization to retranscrib to the best the violence of armed conflict (the deluge of bullets, movements like the screams of soldiers), a highly sought after rear scene and titanium bass (the rumbling of tanks). Of course, mixing Atmos forces, the feeling of being enveloped by the horrors of war (the firing of mortars, the blast of explosions, the fallout of debris, the aerial passages of the P-51 Mustang, etc.) is terribly stressful. At its level, VF does not demerit but seems much more extinguished. Hell of the battlefield at home!
Blade Runner – The Final Cut
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.40 – DI 4K
A breathtaking beauty, this fabulous UHD transfer delivers an exquisite 35 mm grain, a miraculous definition (the Blu-ray seems blurry next to it!), a pique of madness (quantity of new information such as details about J.F. Sebastien's genetically modified toys), bright colours and extremely vigorous contrasts. The colorimetric palette is wider (blue tints) and better saturated (fluorescent neon, police vehicle signal ramps), the brightness is significantly increased, the lighting is much more intense (the brightness of the stars, the lights on the windows, the power of the projectors, the vivacity of the signs), the reflections are much brighter (the tile of the Tyrell Corporation) and the blacks are clearly deeper. A historical restoration that gives the impression of seeing for the first time (and eyes scarlet so beautiful) this timeless classic of science fiction.
• Sound tracks : 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
A VO Atmos remixed with great care where the side speakers (the Spinner passages) and vertical ones (the constant rains) create a feeling of ultra-realistic immersion (the incessant brouhaha of the crowd) for an audio landscape until then unpublished on this film. For the rest, the dialogues are clear, the dynamics appropriate and the score of Vangelis loaded into bass. If the French track is more aggressive, it breathes much less (the sound space is narrowed) and loses a lot of atmospheres.
Matrix
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.40 – DI 4K
Captured in 35 mm Kodak during shooting with SFX supervised in 2K, Matrix makes its long-awaited appearance on Ultra HD Blu-ray support thanks to Warner, who for the occasion achieved a complete remastering of the work from a new 4K scan. In addition, Bill Pope, the director of photography, has set up the new colorimetric calibration of this edition. Importantly before starting, the new Blu-ray made from the latest available material is a disaster. Not so much on the definition and piqué side that are superior to the previous edition, but on the side of colors that are strange and contrasts completely washed. It would seem that Warner automatically converted the HDR UHD disk to SDR! For greater transparency, the comparison will be made with the Blu-ray released in 2014. So, are you ready to follow the white rabbit? Some plans have been cropped in order to refocus the characters (that's what I suppose), the definition has made a good significant forward, many details so far gone unnoticed are clearly more visible (the pores of the skin, the costumes, the decorations), the plans appear with more relief thanks to a better cutting of the elements of the frame, the contrasts have been remarkably boosted (with brighter whites and more supported shadows), the light sources are much more intense (the lines of code, the lightings of the city, the monitors in the Nebuchadnezzar, the light sources are much more intense (the lines of code, the lightings of the city, the monitors in the Nebuchadnezzar, the « eyes » of Sentinels, the tactical lamps of the special forces and j
• Sound tracks : 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
automatically convert the UHD HDR disk to CSD! For greater transparency, the comparison will be made with the Blu-ray released in 2014. So, are you ready to follow the white rabbit? Some plans have been cropped in order to refocus the characters (that's what I suppose), the definition has made a good significant forward, many details so far gone unnoticed are clearly more visible (the pores of the skin, the costumes, the decorations), the plans appear with more relief thanks to a better cutting of the elements of the frame, the contrasts have been remarkably boosted (with brighter whites and more supported shadows), the light sources are much more intense (the lines of code, the lightings of the city, the monitors in the Nebuchadnezzar, the light sources are much more intense (the lines of code, the lightings of the city, the monitors in the Nebuchadnezzar, the « eyes » Sentinels, the tactical lamps of the special forces and j But where this magnificent 4K edition stands out the most, it's about the important changes that have been made to color calibration. Very singular when it was released in HD (it was more neutral on the DVD), the colorimetric palette of this first opus was violently adjusted to better stick to the photo of the following shutters. To do this, a greenish filter had been applied without discernment on all the scenes taking place in the matrix, with the aim of obviously reminding us of its simulated nature. And where it had been carefully studied for the
Apocalypse Now Final Cut
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 2.39 – DI 4K
makes its long-awaited appearance on Ultra HD Blu-ray support thanks to Warner, who for the occasion achieved a complete remastering of the work from a new 4K scan. In addition, Bill Pope, the director of photography, has set up the new colorimetric calibration of this edition. Importantly before starting, the new Blu-ray made from the latest available material is a disaster. Not so much on the definition and piqué side that are superior to the previous edition, but on the side of colors that are strange and contrasts completely washed. It would seem that Warner automatically converted the HDR UHD disk to SDR! For greater transparency, the comparison will be made with the Blu-ray released in 2014. So, are you ready to follow the white rabbit? Some plans have been cropped in order to refocus the characters (that's what I suppose), the definition has made a good significant forward, many details so far gone unnoticed are clearly more visible (the pores of the skin, the costumes, the decorations), the plans appear with more relief thanks to a better cutting of the elements of the frame, the contrasts have been remarkably boosted (with brighter whites and more supported shadows), the light sources are much more intense (the lines of code, the lightings of the city, the monitors in the Nebuchadnezzar, the light sources are much more intense (the lines of code, the lightings of the city, the monitors in the Nebuchadnezzar, the « eyes » of Sentinels, the tactical lamps of the special forces and j
• Sound tracks : English Dolby Atmos, English Dolby Digital 2.0
Presented in Dolby Atmos, the soundtrack is demonstrative as possible. Subtile, precisely distributed (the atmospheres and passages of helicopters invade the height channels) and powerful (the dynamics and infra-graves give to the heart joy), it allows the most complete immersion. 
This Ultra HD Blu-ray edition contains no French soundtracks.
Beetlejuice
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 1.85 – DI 4K
With irresistible colors, new details and a wonderfully filmic look, this new 4K transfer looks incredible.
• Sound tracks : English Dolby Atmos, French Dolby Digital 2.0
Rejoicing with effects « Strange » balanced on all sides, this new Atmos track gives him a new life.
French exclusivity
The Hate
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.85 – DI 4K
This horrendously topical cult film offers a 4K restoration (from the original negative 35 mm) for its 25th anniversary. More realistic than ever thanks to a sublimated black and white (see the exemplary management of contrasts), the image is as beautiful as possible (immaculate copy, sharp definition, nuanced light sources and solid compression).
• Sound tracks : French DTS-HD MA 5.1, French DTS-HD MA 2.0
Spatied with delicacy (the atmospheres invite to the back with parsimony), the multichannel soundtrack benefits from a very significant dynamic (the DJ set at its window) when events come to demand it.
The Song of the Wolf
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
With the exception of slightly light blacks sometimes, this HDR10 UHD transfer is arduously stable. With a sharpness of all the moments and a realistic colorimetric palette, these anxiogenic images from a DI 4K are of good density. Already more resolute and detailed than in HD (face features, clothing fibers, decor elements), they are mainly decorated with more electric colours (see red and blue shades), more harmonious contrasts (the scenes contained undoubtedly benefit from them) and more striking light sources (the sun's reflections on water, flames/explosions and artificial lights on board submarines).
• Sound tracks French Dolby Atmos, French DTS-HD MA 2.0
Mixed with the Skywalker Ranch with a malady care of detail, the Dolby Atmos track looks like an implacable precision to make us feel like never before on board a submarine (two in fact) and get us into the head of the Golden Ear. Where each sound can be synonymous with the danger of death, it swings moultes acoustic information (the pressure of water on the hull, the rumbling of naval equipment, the frequency of sonars, command orders in the speakers, the song of dolphins, the displacement of torpedoes, the blast of explosions) in all the corners of the listening room (the height scene is a full member of the crew) while being discreet to blend into the seabed. Charged in murderous infra-graves and equipped with always clear dialogues, this blending of anthology ends us to finish.
The Swimming pool
• Video format : 3840×2160 / 24p - Dolby Vision / BT.2020 – YCbCr 4:2:0 / 12 bit – HEVC encoding – Format 1.66 – DI 4K
Taken from a 4K restoration from the original 35 mm negative, this Dolby Vision UHD transfer is splendid despite the presence of small dust. The stability of the frame is excellent, the silver texture is much more organic than in the past (it happens that it turns in tingling during some passages), the finest details and the backgrounds are revealed in the open, the colorimetric palette is much denser (cf. saturation of the blues and greens) for shades with increased vitality, the contrasts have been reinforced (blacks have gained in depth so that the night planes are of all beauty), and the light sources are more burning than ever (the suffocating heat of the sun). Surprisingly contemporary, the ultra-luminous images of this 4K Ultra HD never cease to surprise. The disc « Hang on » several times on some Panasonic, Sony and Xbox players, with the key to the appearance of coarse pixels and unexpected tearing of the image.
• Sound track : French DTS-HD MA 2.0 Mono
Despite a hint of acidity (music during the party), voices sometimes a little deaf and two slight distortions, this track 2.0 mono d'a great clarity distributes its rare dialogues, its atmospheres of the South of France (cicadas, the wind) and its sensual score with a very comfortable intimacy.
Gwendoline
• Video format : 3840×2160 / 24p – CSD / BT.709 – YCbCr 4:2:0 / 8 bit – HEVC encoding – Format 2.35 – DI 4K
The very bright master UHD magnifies the photograph of the work by preserving its delicate silver texture and bringing out a flicker of details.
• Sound track : French DTS-HD MA 2.0
The soundtrack 2.0 ensures the « show » thanks to the assurance of its dynamics and the great clarity of its mixing.
The Tonton gunners
• Video format : 3840×2160 / 24p – CSD / BT.709 – YCbCr 4:2:0 / 8 bit – HEVC encoding – Format 1.66 – DI 4K
Reinstating the HDR process in the closet to remain true to the original photograph (the tests were not satisfactory), this 4K restoration performed from the original negatives thanks (in part) to the donations on the Celluloid Angels collaborative platform, offers a treatment of youth at work. The frame is a little wider, the film is perfectly cleaned (the scratches and dusts have been made the trunk), the image is better defined and gain in precision (cf. the faces, costumes and decors), the depth of field is accentuated, the contrasts have been successfully reworked while remaining moderate (the whites that can sometimes shoot on gray have not become bright and it is a good thing), and the blacks are generally more supported. Back from the medal, the focus errors are now more visible and the tinglings inherent in the source appear more easily.
• Sound track : French DTS-HD MA 2.0 Mono
A monophonic mixing of a great homogeneity and a beautiful vitality, where the voices (without breath), the sounds and the few notes of the mythical score are delivered with clarity and without the slightest distortion.
Foreign exclusivity
Shadow
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
A delight of every moment that refers to Chinese calligraphy. At the border of the monochrome, the white and black dominant graphic palette (Yin and Yang) has its impact multiplied in UHD HDR10. The few bursts of colours such as flesh tones, blood red and earthy atmosphere (almost sepia here) of the attack on the city of Jingzhou are more nuanced, the gray scale is otherwise more precise, the contrasts are much sharper (pure whites and deeper blacks) and the light sources are more realistic (reflection on water puddles). Cleanly improved also, details and depth of field fully benefit from the increased resolution of the support. Cleanly amazing, the images delivered by this 4K Ultra HD are just hypnotic.
• Sound tracks : Mandarin Dolby Atmos, English Dolby Digital 5.1
Subtil and warrior, this Dolby Atmos blend with feverish dynamics benefits from fantastic spatialization. The palace atmospheres, the environmental sounds, the martial effects and the ferocious score to the cithar no longer engage all the speakers (the surrounding canals have no respite). The aerial scene radiates almost permanently (torrential rain, wind blowing, echoes in the cave, umbrella technique, etc.), the basses are particularly powerful and the dialogues appear distinctly.
Lucy
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.39 – DI 4K
A more obvious clarity, much richer details and textures, a more remarkable feeling of depth, fabulous colours better saturated, blinding whites, deeper blacks and contrasts to the tablet.
• Sound tracks : English Dolby Atmos, French (Quebec) Dolby Digital 5.1
An Atmos-anthology blend that uses the effects of height to good effect for a stinging bubble effect. For the rest the dynamic is energetic, the atmospheres are detailed, the effects swirl and the bass are deep.
The Fall of the Black Falcon
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.38 – DI 4K
Captured in Super35 and taken from a new 4K transfer, the images delivered by this disc are simply fantastic and « destroy » spectacularly those of the aging Blu-ray encoded in MPEG-2. The definition is impressive, the improvement of the details is absolutely remarkable (the facial hairiness, the tissue of the uniforms, the texture of the sand, the state of the bricks, the background elements), the rougher silver grain is much thinner and breathes better (the parasitic tinglings have not been reincorporated), the sublime photographic with yellow and green hues gain in richness and natural (it is also the flesh tones that enjoy the most) to channel with grace the over-saturation of the colors (it does not bathe anymore), the deliberately strongly supported contrasts (a fairly extreme ratio) enjoy deeper blacks and brighter whites while delivering much invisible information until now, and the much more realistic light sources (cf. the flames and interior lightings of the American military base) allow Somalia's heat to be even more overwhelming (the light of the day and the seepage of the sweat). Never has the war been displayed with so much « beauty ».
• Sound tracks : English Dolby Atmos, English DTS-HD MA 5.1, French (Parisian) Dolby Digital 5.1 (film version only)
Thanks to the numerous pyrotechnic effects perfectly located and the constant pressure of all the speakers, these dynamic sound tracks and a beautiful clarity (dialogues are always audible despite the « brouhaha » We are immersed in the horror of war with as much violence as with subtlety (spaceization is remarkable). Remixed in Dolby Atmos for the occasion, the VO is more open and robust in addition to leaning on an ultra-active aerial scene (the passage of helicopters, the detonation of the shots, the breath of the wind, the presence of the « skeletons » on roofs, debris, etc.). In both cases, composer Hans Zimmer's particularly striking music is broadcast with great scope. And while the LFE channel has clearly trained to resist the massacre, the bass seem to be more contained than in recent productions. Be warned that the long version (proposed in seamless branching) has some cuts of sound (a small handle) at the beginning of the operations.
Starship Troopers
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 1.85 – DI 4K
Forget the dull and uncontrasting Blu-ray image, and welcome the much better one of this UHD transfer. By offering a significant increase in stability, definition, piqué (many details are missing in HD), colors and contrasts (dark scenes gain in depth), but also a marked improvement in clarity, sharpness and cleanliness (the master has clearly been cleaned and retains the original 35mm grain), Sony editor will make happy fans. But that's not all! The colorimetric palette is much deeper (the shades of the skin) and saturated (the orange fire balls, the red or green blood), the explosions/flames are much brighter and warmer, the lights are much more intense (the lasers have more radiances, the stars are more sparkling, the reactors are boosted to death and the inlays on TV spots are brighter), the clouds are better designed and the blacks are an impressive richness.
• Sound tracks : English Dolby Atmos, English DTS-HD MA 5.1, French (Quebec) Dolby Digital 5.1
A Dolby Atmos track that is enraged by the dynamic demonstrative, fantastic spatialization, the infantry effects that flood the acoustic space with as much punch as precision (the waves sent by the nuclear explosions), the enveloping atmospheres (the crowd during the neo-football match), the ubiquitous surrounds, the generous aerial scene (the announcements at the military school, the openings of the security locks, the interstellar cruisers, the planetary defence missiles, the flying arachnids), the wide score and the bass that hit hard. If the VF remains powerful and capable of performing, it cannot immerse us in the heart of chaos; where the VO does it without difficulty by its ability to create an ultra-immersive sound dome.
Wolf Warrior 2
• Video format : 3840×2160 / 24p – HDR10 / BT.2020 – YCbCr 4:2:0 / 10 bit – HEVC encoding – Format 2.35 – DI 2K
We take full eyes for almost 2 hours and it's just beautiful. The admirers of clean, clear, sharp, detailed, colorful and contrasting images, will therefore have for their money. From ultra-acerated piqué (from finer details than in HD) to ultra-rich colours (a more saturated palette than on the Blu-ray), to ultra-sliced contrasts (from dazzling whites and infinite blacks) and ultra-puzzling brightness (but which sifted the lights into SDR?), this splendid UHD transfer delivers such realistic images that it can, at times, give the impression of contemplating the action of its window. Why by 10 then? Because the CGIs, which are fairly average, have to admit, are even more visible in Ultra HD, and the few SD stock-shots, scattered from there, necessarily make « tasks ».
• Sound tracks : Mandarin Dolby Atmos, Mandarin DTS:X
An all-time hearing experience for uncoupling soundtracks (the Atmos track is much more powerful than the DTS:X track). In the field, the dynamics are considerable, the spatialisation is of great precision, the atmospheres are immersive, the pyrotechnic effects are on both sides of the listening room with conviction, the rear scene does not allow for any retreat, the height enclosures drop what is necessary when the narration demands (water pressure, the blast of the explosions, the fallout of debris, the overflight of helicopters, etc.), the heroic score is enveloping (it even rises above our heads sometimes) and the low vehement.
Great file with a lot of fills that I'd see again on my 4k projector, Joker and Blade Runner in mind.
Thanks Arthur and for the info, the top that will integrate the year 2021 will be published in January. 😉