You are equipped with a UHD HDR diffuser and a latest 4K Blu-ray player. Only here you don't know what to buy to feed all this beautiful world. Don't panic, our strong supporter (#WeLovePhysicalMedia) has created an article about the best 4K Ultra HD on the market... Those who will make you experience intense audio/video emotions with Dolby and DTS!
As you know, the advent of SVOD has totally upset the film industry. Once all-powerful, physical media are gradually abandoned in favour of digital and dematerialized files. Yet the Ultra HD Blu-ray record remains the ideal medium for viewing a film, series, documentary or concert at home. Indeed, it is the only medium capable of providing a high enough bitrate so that the image in very high definition and the digital multichannel HD sound are delivered under the most optimal conditions possible. So it's up to us all to focus on streaming so that it never disappears.
For latecomers who missed the announcement of the Blu-ray Disc Association (BDA) on 12 May 2015, it offers up to 100 GB of storage on three layers of 33 GB, contains Ultra HD videos (up to 3840 x 2160 pixels) and operates the H.265 (HEVC – High Efficiency Video Coding) compression standard, supports the High Dynamic Range (HDR) mode in order to achieve a wide dynamic range, complies with the P3 (Digital Cinema) or BT/2020 (75% of the spectrum visible by the human eye) standards of the EBU (European Broadcasting Union) and benefits from a wide colour range (wide colour gamut) and a 10-bit coding that increases the number of nuances per RGB colour channel for finer and flatless gradients, is compatible up to the frequency of 60 images/s (One day in Billy Lynn's life, Gemini Man), more frequently embarks 3D audio codecs (Dolby Atmos, DTS:X and Auro-3D) and lacks regional code.
For the sake of transparency, know that the success of a UHD transfer and of a soundtrack is measured in the process of transcribing the original intentions required for the image and sound (so don't throw away your devolution on the worst Blu-ray 4K support). 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.
More palpable on 4K Ultra HD support thanks to increased resolution, larger disk space and better controlled compression, this fully recovered silver texture (this is evident on the 4K DI films captured in Super 35 mm) actually accentuates the cinematic sensation that Blu-ray only touches. Trying to reduce or nullify it with DNR is a gross error since according to its use, smooth too image with a loss of pique (often counterbalanced by an aggressive strengthening of the details under edge enhancement) and a pure and simple disappearance of the silver rendering for artificial digital.
And this is not because James Cameron no longer supports the granularity of his previous feature films, preferring the visual aberrations generated by the « optimizations » dAliens, Abyss, True Lies and Titanic – LThis revisionism must be seen as the way forward. On the contrary, it is essential to respect the work as it was conceived as we keep the paintings of great masters!
On the soundtrack, it's the VO that is listened to (and rated in the end) about the original mixing. Don't be surprised to find in the list to follow editions offering only a VF lossy. In any case, without dubbing of course, many listeners would be unable to make the difference (surprisingly tenuous sometimes) blindly.
Finally, it is impossible to mention the tops of Ultra HD Blu-ray support without specifying the best publishers on the market who, for many reasons (systematicly neat A/V benefits, exceptional editorial line and high quality packaging), are today Second Sight Films, Arrow Films, The Criterion Collection, The Smoker Cat and Vinegar Syndrome. A great congratulations to them, which they continue to delight us!
Trive of chatter, on nearly 1100 tracks tested since 7 May 2016 (with the US record of The Ender Strategy), of which nearly 700 are already available on MaG – Movie & GameThe winners are:
Contents
Top French releases
Avatar: The Waterway
‹ HDR10 edition test ›
• 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 soothing reigns, the realism of the surrounding environment (the fauna and flora) and the regular activity of the heights (the overflights of the Ikrans, the underwater noises, the jumps of the marine creatures, the fall of debris, etc.) impress lastingly, Simon Frallen's music (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 of the engines, waves that break, the displacements 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.
Top Gun: Maverick
• Video format : 2160p24 | Ratio 2.39 and 1.90 – Dolby Vision | BT.2020 – HEVC encoding | DI 4K
Captured in 6K and resulting from an intermediate 4K master, the vertiginous images of the chef op的 Claudio Miranda shine with a thousand lights on this UHD Dolby Legendary vision transfer where, IMAX capture requires during six passages (one of which is the breath-taking final), alternate formats 2.39 and 1.90. The definition is irreproachable here (the clarity of scenery and scenery is increased), the plans that are surgically accurate are even more detailed than in HD (faces, fuselage of aircraft, uniform bars), the colorimetric palette in California style (except the cold last straight line) is warmer (the carnation) and better saturated (the blue of the ocean, the orange hues of the sky), the contrasts increase in firmness (dense blacks and whites – snow – more immaculate) and the light sources, in addition to avoiding the overexposures of its counterpart CSD (the clouds and rocky surfaces are more designed), display with much more intensity (sunrises and sunsets, the projectors of the Lockheed Martin SR-72 hangar, the interior lighting of the aircraft carrier, etc.).
• Soundtrack : English Dolby Atmos, French Dolby Atmos
As close as possible to the turbines, these audio tracks encoded both in Dolby Atmos (a first for Paramount editor) will nail you on the spot! Powerful, visceral and particularly well distributed, they send out pâté from the opening on the aircraft carrier until the end generic. The voices are clear (the dubbing of the VF is perfectly incorporated into the mixing), the dynamics fly as soon as it can (the aircraft scenes and the sequence of the sailboat), the basses show great authority (the infra-graves are insane during the thrusts of the engines), the spatialisation deploys with as precision as well as generosity its pyrotechnic effects (the trajectories of the vehicles, the missiles) and its environmental atmospheres (the wind, the waves) on all the canals (which include, among other things, the radio messages of the pilots and the overflights of light hunters who use the full of verticality), and the score composed by Hans Zimmer and Lorne Balfe benefits from a deviating magnitude. While she must be content with a « small » Dolby Digital 5.1 on the Blu-ray, the 3D VF of this 4K edition is as good a driver as the VO, if it is that it has a little more difficulty to let go during the sudden accelerations of the soundtrack.
Godzilla vs Kong
• Video format : 2160p24 | Ratio 2.39 – HDR10+ | Dolby Vision | BT.2020 – HEVC encoding | DI 4K
Digitally captured in 3.4K and 6.5K, these absolutely beautiful images are perfectly restored by an exceptional UHD Dolby Vision transfer (or HDR10+ depending on your hardware). They are coated with blinding neon, all more colourful than each other and endowed with a heavyweight definition, they display without any compressive worries with a combination of ultra-fine details (cf. the texture of Kong fur or Godzilla scales), bright colors at significant depth (primarys are bright at wish during night scenes in Hong Kong), punchy contrasts never taken on reverse (blacks are abyssal and dazzling whites) and extremely bright reflections. As off next door, the Blu-ray is far from reaching the lavish visual proposal of this 4K Ultra HD. A reference!
• Soundtrack : English Dolby Atmos, French Dolby Atmos
Impressive all along, this Dolby Atmos soundtrack (VO like VF) takes us to the heart of the action... Very powerful and dreadful precision, it is full of effects « aggressive » It is distributed over all the enclosures allocated to it. The dialogues are clear, the enraged dynamics, the complete atmospheres, the inspired score, the colossal infra-graves (I rarely felt such a burden during the impacts!), the stunning vertical component (the fauna and flora on the island of the Skull, the alarms in the centres of Apex, the fall of debris, the atomic breath of the King of Monsters or the rain) and the surrounding canals in permanent activity. A demonstration of strength!
Oppenheimer
• Video format : 2160p24 | Ratio 2.20 and 1.78 – HDR10 | BT.2020 – HEVC encoding | DI 4K
Exclusively 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 Dunkirk (2017).
• Soundtrack : English DTS-HD MA 5.1Exclusively 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
, French SDR 5.1
Dying can wait
• Video format : 2160p24 | Ratio 2.39 – Dolby Vision | BT.2020 – HEVC encoding | DI 4K
Resulting from a 35 mm, 65 mm and IMAX capture then finalized in real 4K, this stunning UHD Dolby Vision transfer stopped magnifying Linus Sandgren's superb photography (The Land). Clearly superior to its HD counterpart, the image that is much better defined (cf. the increased sharpness of the backgrounds) displays a slightly finer silver texture, much more intimate details (the tomb of Vesper Lynd, close-up on the faces, the texture of the clothing), a clearly more sustained colorimetric palette (starting with blues and greens), much more harmonious contrasts where whites gain in purity (the snowy nature during the opening sequence) and blacks in precision (the exploration of underground passages), and light sources with a tenfold fervour (exterior sunshine and interior lighting). Up to Her Majesty's favorite secret agent class, this Ultra HD Blu-ray is perfect!
• Soundtrack : English Dolby Atmos, French Dolby Digital Plus 7.1
Richly spatialized and eminently musical, the VO encoded in Dolby Atmos rivals, not without some British phlegm, with tenors of the genre. The mix is carefully balanced, the dialogues are perfectly clear, the dynamics turn full throttle, the effects as well as the atmosphere are particularly well placed in the acoustic space (the Aston Martin under the shots in Matera, the evening of the organization SPECTRE in Cuba, the manhunt in a forest in Norway), the surround scene follows the continuous action, the basses are striking, the aerial stratum immerses fully (the sound of a bell, the overflight of helicopters, debris falls, an announcement in the loudspeakers and j-en pass) and the score signed Hans Zimmer, which admirably paces this 25th mission by taking out the saga of the musical torpor in which it was plunged for a long time (the « leitmotiv Bondien », very present, being gripped by the heavy sounds peculiar to his composer), spreads everywhere with an emeritus magnitude. More discreet and less striking, the VF proposed in Dolby Digital Plus 7.1 and however effective it is enough to satisfy the followers of Molière's language.
Ambulance (2022)
‹ German edition test >
• Video format : 2160p24 | Ratio 2.39 – Dolby Vision | BT.2020 – HEVC encoding | DI 4K
Captured in 6K and 8K (RED cameras) before designing an intermediate master in 4K, this flashing image (which undeniably carries the director's foot) hits the retina in UHD Dolby Vision... Because already incredible in Blu-ray, its visual features are here enhanced! The definition is strengthened (more complex backgrounds), details are revealed with increased sharpness (see precision of faces, clothes and bodywork), colorimetric palette « Californian » (chaudium and saturated in sum) increases in vivacity (yellow vests, red ambulance, blue sky), the ardently pushed contrasts are even more frank (denser blacks and purer whites) and the light sources, better capped (goodbye overexposure), show increased intensity (explosions, sun, gyrophares, interior lighting).
• Soundtrack : English Dolby Atmos, French (Parisian) Dolby Digital 5.1
Here's some thrills for this Dolby Atmos track that should serve as a matrix for all the action movies that aspire to a 3D soundtrack! Reaching the optimal combustion of each element of the mixing without any difficulty, it delivers, not without a singular clarity, a constantly energizing spatialisation to the integration around (road traffic, urban atmospheres) and/or aerial (helicopters, sound alarms of intervention vehicles, ricochets of bullets) exemplary, perfectly restored voices, a dynamic to the exceptional extent (fire shots), admirably balanced ultra-physical basses (carambolages) and ubiquitous enveloping music as possible. Equally active and inside despite less precision, the VF(F) comes out rather well (especially with the activation of a DSP of virtualization) in the face of the immoderation of the work that it sounds.
Dune: Part I
• Video format : 2160p24 | Ratio 2.39 – Dolby Vision | BT.2020 – HEVC encoding | DI 4K
Playing shadows and light, the majestic photograph with the cold beauty of Greig Fraser (Rogue One, The Batman) emulates a silver recording even though the film was shot digitally. To do this, images from Arri Alexa LF and Mini LF (4.5K and IMAX certified cameras) were transferred on 35 mm film before being recovered in 4K. Unique, this approach allows access to an admirable pictorial rendering where the homogeneity of granularity does not degrade the precision of the definition. And as of course, only the UHD Dolby Vision transfer is able to return this artistic choice as faithfully as possible. Increased fineness of textures (sand particles, Leto beard, Fremen distillery, Arrakeen infrastructure), meticulousness of contrast values (thanks to better carved shadows, low light sequences – like the rite of passage – gain in readability), enhanced richness of the colorimetric palette (light yellow) « gold » of the desert, the blue eyes of the pioneer Dune people, the double tint of the energy shields, the broken white armors of the Sardaukars) and accentuation of lighting (globally moderate with the exception of the « revelations » by Paul where the brightness becomes overwhelming) better dressed, allow the 4K Ultra HD to escape from the otherwise more matte and overexposed look (especially on reflective surfaces) of the Blu-ray.
• Soundtrack : English Dolby Atmos, French Dolby Atmos
Barded with atmospheres and expressive as possible, this Dolby Atmos mixing (in VO as in VF) which continuously exploits all the channels allocated to it imposes itself as a very « large piece » acoustics. The soundscape is full of relief with ambiences (sand movements, wind blowing) and/or effects (the activity of the harvester, explosive shell guns) which simmer from everywhere (the rear scene is regularly taken by storm), dynamic sends the decibels badly (cf. the flash attack of the Harkonnen House on Arrakis), the dialogues that remain balanced in all circumstances are delivered with great clarity, the loudspeakers are shown on many occasions (Paul's visions, the ornithoptères, the Coriolis storm at the Mad Max: Fury Road, the spaceships), Hans Zimmer's shamanic score has a staggering amplitude and the LFE channel, which tirelessly pilsons the bottom of the spectrum (the Voice of Bene Gesserit, the approach of worms, Liet Kynes' hammerer), mixes ardently with the festivities.
Gran Turismo (2023)
• Video format : 2160p24 | Ratio 1.90 – Dolby Vision | BT.2020 – HEVC encoding | DI 4K
Realistic and non-slashing (the photograph by Jacques Jouffret displays neutral tones), the image captured digitally in 6K and 8K (including Sony CineAlta Venice 2 IMAX cameras) before being finalized in 4K, crossed the pole position finish line by the perfection of this UHD Dolby Vision transfer. Disturbed from the slightest granularity and fed by a titanium compression (an average bitrate of 66 Mb/s), it captures the urgency of motorsport with a higher definition (to avoid missing anything from product placements) and even more sharp details (see close-ups on faces, tarmac and pistons). The colorimetric palette takes advantage of slightly more enterprising nuances (body colours, overprint lines), contemporary contrasts have been carefully extended (the Tokyo night scenes use deep blacks and cleaner white pilot combinations) and light sources, much more authentic (the lighthouses, simulation monitors, flames, reflective surfaces, daylight, urban lighting), reach 650 nit in peaks (for average brightness measured at 170 cd/m2).
• Soundtrack : English Dolby Atmos, French DTS-HD MA 5.1
Powered by moments of relaxation rhythmic by Enya and Kenny G, this soundtrack that inspires speed and energy is offered in Dolby Atmos (VO) and DTS-HD MA 5.1 (VF). Very powerful (the dynamics have it under the hood) and with precision of every moment, it unfolds an acoustic landscape of great richness where the ambiences of the race (crowd cheers) and motorized effects (mechanical noises, overtakings of cars) pass through all the speakers. Total, immersion is facilitated by a specified LFE channel (trumbling « monster » of motors) and dialogues with victorious clarity (the French dubbing fits well into the original mixing). Taking advantage of a better equipped rear scene (+ 2 channels) and professional verticality (helicopters, beating rain, central crash, the Patrouille de France), the 3D track offers a more enveloping sound show.
Blade Runner 2049
• Video format : 2160p24 | Ratio 2.40 – HDR10 | BT.2020 – HEVC encoding | 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!
• Soundtrack : 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!
John Wick: Chapter 4
• Video format : 2160p24 | Ratio 2.39 – Dolby Vision | BT.2020 – HEVC encoding | DI 4K
With her neons and her luminous flashes do you want some, the visual identity marked by the saga (which has been owed since the 2nd installment 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 cascades of the nightclub) and the level of detail impresses all along with a significantly increased finesse of the slightest texture (the facial hairiness, costumes, decors, 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 Dolby Atmos, 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 by Steven Seagal, with the incredibly loud sound of Keanu Reeves' fists smashing 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 Tyler Bates' electro-rock score unfolds with a certain spatial magnitude.
Top Foreign Exclusives
Shadow (2018)
‹ American edition test ›
• Video format : 2160p24 | Ratio 2.39 – HDR10 | BT.2020 – HEVC encoding | 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.
• Soundtrack : 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.
The Green Knight
‹ American edition test ›
• Video format : 2160p24 | Ratio 1.85 – Dolby Vision | BT.2020 – HEVC encoding | DI 4K
With stunning beauty, the photo of the work finds in this UHD Dolby Vision transfer an ally of weight... It must be said that this presentation from a DI 4K (images captured in 6.5K using a camera Arri Alexa 65) rises to the top without ever bending. The colour banding visible in HD (the underwater search of a head) is of ancient history, the definition is even more royal and the level of detail is significantly increased (face features, medieval costumes, texture of decors and/or landscapes). The colorimetric palette, very specific it is true in addition to being essential to narration, acquires new shades (cf. the multiple shades of gold and grey) while adding boldness to its primaries (a greener nature, reds and yellows better saturated), the additional precision brought to the contrasts allows an improvement of the clarity of the scenes plunged into the darkness (thanks to more opulent blacks and whites enhardis), and the light sources, most unusual, we admit, are restocked with sun (he splashes some diurnal passages) and fantastic bursts (reflections on blades, cloudy skies, flames).
• Soundtrack : English Dolby Atmos
Immersive but rarely demonstrative, this harmonious soundtrack Dolby Atmos intelligently uses its spatialization and bass (the Green Knight's movements) to better embark on this outdoor adventure. The dynamics know how to play its presence, the environmental atmospheres are not lacking (the agitation of the brothel, the noises of nature), the surround scene is refined (wind, fauna, enemies hammering the walls of the castle), the effects of height contribute to the feeling of certain events (especially when Guinevere enters trance to the reading of the letter brought by the Green Knight) and dialogues such as the score (intressing and contemplative) are delivered as clearly as proper.
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 (dark nightmare paintings where smoke, dust and dirt have taken up residence), James Friend's photograph parses 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
As the bursts of machine guns and the rumbling of the cannons 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 stir our guts when it evokes the sirens of combat. 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 04 June 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 gains in precision (every noise sounds much better), the soundscape is immersive as possible (environments unfold at 360°, off-field effects worry and aerial channels add a layer), the dialogues strictly exuded by the power plant seem natural and the anxiogenic composition of Disasterpeace, supported by a vigorous LFE channel (infra-bass is there to make it uncomfortable), nevertheless still remains the star.
Mister Babaook
‹ British edition test ›
• Video format : 2160p24 | Ratio 2.39 – HDR10 | BT.2020 – HEVC encoding | DI 4K
Visually stunning, this UHD HDR10 transfer from a 4K scan of the original negatives is nothing less than one of the best video presentations on the media! Using a monochrome palette close to black and white that some color breakthroughs come « brightening », the wonderful greyish and bathed shade photography by Radosław Čadczuk is magnified by enhanced contrasts (cf. the superb gradation of blacks and whites), infinitely richer shades of grey and much more light sources « supernatural ». Incredibly detailed, the image is paid in addition to an even more clinical bite than in 1080p that a consolidated compression comes perfect.
• Soundtrack : English DTS-HD MA 5.1
Almost as striking as the image, this subtle and scary soundtrack delivers many shock passages! The voices are precise, the dynamics are verva, the strange effects (or not) like the heavy atmospheres (always) are broadcast on all the speakers with more (house, park) or less (street, school) of bustle, the reserved score (or not) sneaks away from everywhere not without clarity and the bass, sometimes huge, are judiciously used.
Top works of heritage
We have to save Private Ryan.
• Video format : 2160p24 | Ratio 1.78 – Dolby Vision | BT.2020 – HEVC encoding | 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!
• 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
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!
Matrix
• Video format : 2160p24 | Ratio 2.40 – Dolby Vision | BT.2020 – HEVC encoding | 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, which for the occasion realized 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 appear that Warner 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
• 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
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
The Wolf Pact
• Video format : 2160p24 | Ratio 2.35 – Dolby Vision | BT.2020 – HEVC encoding | DI 4K
Based on the telecinema made at the time of the DVD, the image of the previous Blu-ray was only a bad one. « Inflation » of the master SD and had high definition only the word. None of this today since all of it « reconstituted » In 4K from the original negatives (which it was necessary to sort and scan because not mounted), the present restoration carried out under the supervision of Christophe Gans and Sébastien Prangère (one of the assemblers with David Wu) is quite sublime. The negative has been cleaned, the color graduation drastically reworked (with at the key a better integration of the Beast), the harmonized composite plans and a considerable mass of recovered details. Thanks to this, the image is finally up to the expectations of its designers (the director and his op-director Dan Laustsen)... This was not even the case in dark rooms since digital calibration was only in its early days. By confronting him with his terrible counterpart « HD » in 2008, the present UHD Dolby Vision transfer is a huge improvement. The silver grain (a 35 mm capture) displays with a nice finesse, we win a portion of the image (a light zoom back), the gap at the level of the definition is incredible (it is now possible to enjoy the background), the pique is otherwise more sharp (the sketches of the knight of Fronsac, the fur of wolves, the textures of the costumes), the colorimetric palette benefits from a huge cure of youth (the greenish drift left room for much more nuanced hues) with primary t
• Soundtrack French Dolby Atmos
Based on the telecinema made at the time of the DVD, the image of the previous Blu-ray was only a bad one. « Inflation » of the master SD and had high definition only the word. None of this today since all of it « reconstituted » In 4K from the original negatives (which it was necessary to sort and scan because not mounted), the present restoration carried out under the supervision of Christophe Gans and Sébastien Prangère (one of the assemblers with David Wu) is quite sublime. The negative has been cleaned, the color graduation drastically reworked (with at the key a better integration of the Beast), the harmonized composite plans and a considerable mass of recovered details. Thanks to this, the image is finally up to the expectations of its designers (the director and his op-director Dan Laustsen)... This was not even the case in dark rooms since digital calibration was only in its early days. By confronting him with his terrible counterpart « HD » in 2008, the present UHD Dolby Vision transfer is a huge improvement. The silver grain (a 35 mm capture) displays with a nice finesse, we win a portion of the image (a light zoom back), the gap at the level of the definition is incredible (it is now possible to enjoy the background), the pique is otherwise more sharp (the sketches of the knight of Fronsac, the fur of wolves, the textures of the costumes), the colorimetric palette benefits from a huge cure of youth (the greenish drift left room for much more nuanced hues) with primary t Jurassic ParkHaving stopped exploiting all available channels, this new Atmos soundtrack (reworked for the occasion by Cyril Holtz, the sound editor of the film) is as striking as it is immersive. Very dynamic and using the need for physical bass (the steps of the Beast evoke those of the T-Rex of
Nimitz, back to hell
‹ ), this 3D mix with clear voices (a special mention to the storyteller Jacques Perrin), with regular organic effects and wide music (signed Joseph LoDuca), is provided with a particularly studied channel separation (especially at 62′, when Fronsac recalls the testimonies on the animal). The noises appear everywhere, the rear scene is constantly exploited (the screams of the revolutionaries, the water projections, the presence out-of-field of the Beast, the explosions of pumpkins) and the upper layer, abundant it must be said (even the percussions of the score are entitled to it), is always justified (the beating rain, the thunder that roars, the movements of the animal over the muddy pit where there is a berger). US edition test
• Video format : 2160p24 | Ratio 2.39 – Dolby Vision | BT.2020 – HEVC encoding | DI 4K
Digitalized in 16-bit 4K from the original 35 mm negative before being restored by the editor, this Dolby Vision UHD transfer is absolutely incredible despite small fluctuations (due to optically printed source) that can appear when special effects are in the frame. The image which is of exemplary stability has been perfectly cleaned, the silver grain is of a beautiful organic correctness, the density of the piqué is strictly exceptional (the increase of the details is noticeable from one plane to another), the calibration of the colors is richer and nuanced than in the past (the primary ones are brighter and the other shades better revealed), the contrasts have been beautifully improved with deeper blacks and brighter whites, and the sources of light « Piloted » By HDR technology much better illuminate the places today.
• Soundtrack : English Dolby Atmos, English DTS-HD MA 5.1, French (Parisian) DTS-HD MA 2.0
While it must be remembered that the original mix is more oriented to before the recent big productions, the Dolby Atmos track remains no less fantastic. No sound anomaly comes to betray the age of the film, dynamic intensity does not relax its efforts, dialogues are as clear as stable, bass show great power and spatialization is surprising as soon as events shake the warship. Because it is in those moments that the rears and the height scene (the electromagnetic storm, the overflights of the « Gatsby »air combat F-14/A6M « Zero ») act generously. Equally clean but much less ardent, the VF DTS-HD MA 2.0 cannot fight against the magnitude of the VO.
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 from Master Dolby Vision operated by Studiochannel in 2020 in the UK, the differences are notable with regard to 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 visual potential of the work now seems to be reached.
• Soundtrack : English Dolby Atmos, French DTS-HD MA 5.1
A mix of Dolby Atmos anthology (reserved for the VO) where the atmospheres literally envelop the audience (New York Airport, the welcome on the Fhloston Paradise) and where explosive action scenes fill their ears. The dynamics are phenomenal, the completely insane spatialization (the radio host's show), the rear scene in perpetual motion, the effects of animated height (reverberation of voices, air traffic, the blast of explosions, etc.), the music of Eric Serra ultra-ample, the integration of precise dialogues and titanium bass (from the first notes in passing). Even if less extensive and striking, the VF DTS-HD MA 5.1 ensures the show as very fishing and generous on all channels.
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