You got a configuration of her 3D and want to know what's in her belly? Do you want to give your friends a hearing experience they will never forget? Are you trying to shake the walls of your neighbors? Say no more... Here is the top of Dolby Atmos and DTS:X mixes available on 4K Ultra HD support!
What is the Dolby Atmos? Dolby Atmos technology (introduced in 2012 at the Cannes Film Festival) reinvented the way entertainment is lived by adding a vertical dimension to the sound field and introducing the concept of sound object in addition to traditional 5.1 or 7.1 channels. It is a sound that is felt all around itself (the 3rd sound dimension), with unprecedented clarity, depth and level of detail. The immersion is larger (up to 64 independent channels), with a very realistic three-dimensional reproduction of the soundscapes and a precise location of fixed or moving objects, always at a three-dimensional level and in a dissociated manner, whether present on the screen or off-site. In addition to the classic surround effects, several sound objects can be independently controlled to offer the spectator even more realism and better immersion. And by adding the vertical dimension, the Dolby Atmos allows precise location of the effects in height. Technically, its core consists either of Dolby Digital Plus 5.1 or 7.1 streams (usually on streaming platforms), or Dolby TrueHD 7.1 streams (on physical media in the vast majority of cases), accompanied by metadata to identify and locate additional audio objects. It was in 2014 that it took over audio systems at home (from 5.1.4 to 9.1.6 and from 7.1.4, the current standard that serves as the basis for the design of the mixing control), where it automatically adapts to the device and the room to fill all the acoustic space
What is the DTS:X? In direct competition with the Dolby Atmos format, the DTS:X (presented in 2015) uses a more greedy codec in storage but has the advantage of being able to adapt to any composition of speakers (even without ceiling enclosures), by calculating their position to restore the spatialization of sound. It is a surround sound format that relies on the open source MDA (Multi-Dimensional Audio) platform to transmit sounds in 3D space. It relies on sound objects that can move freely in space to transmit its effects in all directions. It is able to manage up to 30.2 audio channels (up to 7.1.4 in the home cinema domain) and its kernel consists of a DTS-HD MA stream. The IMAX Enhanced sound with DTS:X is optimized for the IMAX sound signature to accurately reproduce the entire dynamic range of the company's sound mixes.
Dear audiophile friends 🎧, here are the 45 best 3D soundtracks from the 4K Ultra HD market for breathtaking hearing immersion! #WeLovePhysicalMedia 📀✨
It is brought to the attention of our dear readers that in addition to the specified and used viewing equipment, the rendering may differ from one installation to another, whether or not it is calibrated, as well as personal preferences and expectations may affect the final feeling.
Sources (4K) : Oppo UDP-203 Audiocom Reference | Zappiti Reference
Pregnant (5.1.4): Sennheiser Ambeo Soundbar Max, SB-4000
Listening modes : Dolby Atmos | Dolby Surround | DTS:X | DTS Neural:X
Contents
Top Dolby Atmos
13 Hours
Source United States | Publisher : Paramount Pictures | Release date : 11 June 2019
A dynamic, wide-ranging and goldsmith-precision warrior mix where it explodes and unfurls at all times. Effects such as atmospheres invite on all speakers, the score is epic as desired and the bass are colossal. Even so effective, the Quebec VF Dolby Digital 5.1 (on a smaller scale and with less detailed surrounds) cannot compete with the VO Dolby Atmos which literally plunges us into the heart of action. In any case, it is only on the latter that the high-rise scene is active (airplanes, fans, shots, explosions, bombardments, debris and passing by). And it would be a shame to pass when it is known that it is not the last to climb to the front. A top demo of every moment.
Alita: Battle Angel
Source France | Publisher : 20th Century Fox | Release date : 24 July 2019
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, the VF DTS 5.1 remains dreadfully effective. In both cases, the soundtrack is thundering.
Ambulance
Source France | Publisher : Universal Pictures | Release date : 27 July 2022
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. Just as active and in spite of less precision, the VF Dolby Digital Plus 7.1 comes out quite well (especially with the activation of a DSP of virtualization) in the face of the immoderation of the work that it sounds.
Deep Water
Source : Canada | Publisher : Elevation Pictures | Release date : 10 January 2017
A dynamic, active and immersive VO Dolby Atmos that uses all the speakers wisely to create an ultra-credible atmospheric bubble. The dialogues are clear, the explosions of the oil platform as well as the ambient noises are reproduced with impressive precision, the simultaneous use of the surround (flame) and height channels (the overflight of the helicopters, the collapse of the structure, the dumping of sludge, the falling of debris) plunges us into the heart of the disaster, Steve Jablonsky's score supports the atmosphere without ever dominating it and the low frequencies, just colossal, give a lot of weight to the action. On the other side, the VF Québécoise Dolby Digital 5.1 is on a diet.
Dune (2021)
Source France | Publisher : Warner Bros. | Release date : 26 January 2022
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.
Edge of Tomorrow
Source France | Publisher : Warner Bros. | Release date : 10 August 2022
An acoustic deflagration of all the moments when the density of mixing, the opening of spatialization, the power of dynamics, the clarity of dialogues, the richness of explosive effects, the accuracy of the rear scene, the presence of the score and the breath of the basses play to « Who has the biggest? ». But while the VF DTS-HD MA 7.1 is appropriate for an LFE channel that digs deeper than in its 3D consœur (where the bass are a little filtered), the VO Dolby Atmos takes the bet of a much more complete development. It must also be said that the height scene does not spare its pain (the helicopters of troop transport, the various and varied projectiles on the beach) and is even decisive on several occasions (the forced landing in France, the training arena, the assault under the pyramid of the Louvre).
We have to save Private Ryan.
Source France | Publisher : Paramount Pictures | Release date : 16 October 2018
A demented VO Dolby Atmos that gives in the pure technical demonstration with a dynamic of madness, a muscular spatialization to retranscrib to the best the violence of the armed conflict (the flood 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, the VF Dolby Digital 5.1 does not detract but seems much more extinguished. Hell of the battlefield at home!
The Fall of the Black Falcon
Source France | Publisher : Sony Pictures | Release date : 10 March 2021
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 fallout, etc.) missing from the VF Dolby Digital 5.1 (present only on the cinema version). 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.
The Song of the Wolf
Source France | Publisher : Pathé | Release date : 26 June 2019
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.
Moonfall
Source France | Publisher : Metropolitan Video | Release date : 09 June 2022
With ultra-generous spatialization and extreme-grave superpowerful, this Dolby Atmos soundtrack (represented in VO and VF) where the effects often fall from the sky will undoubtedly delight the fans of big sound. The dynamics are literally thundering (and intensifying with the growing proximity of our satellite « natural » The various noises that are regularly swirling spring from all sides, the surrounding canals are engaged from the first to the last second, the high-level scene exults (spacecraft, the swarm of nanorobots, debris falls and/or various objects, the overflight of helicopters, the resonances in the military bunker and the pass), the LFE channel rumbles without restraint (earthquakes, explosions), the resounding partition of Harald Kloser is beautifully rendered and the dialogues (French dubbing is flat) remain clear despite the surrounding devastation.
Ready Player One
Source France | Publisher : Warner Bros. | Release date : 08 August 2018
A truly hallucinating acoustic richness, this Dolby Atmos blending that plays the sound bubble map is there to deliver a memorable home-cinema moment. Precisely and immersive (a spatialisation of madness), it diffuses resounding effects (cf. motor racing) and enveloping atmospheres (the « life » in OASIS) on all the speakers put to its contribution. The surrounding canals are thus heavily used (especially during the final battle) and the aerial scene delivers a considerable amount of information (flying objects, gleaning pieces, a T-Rex, King Kong, drones, alarms, various projectiles, Mechagodzilla, etc.). And then the dialogues are clear, the score of Alan Silvestri keeps flying off with a decoupling magnitude and the bass have an important seat without taking over the rest. In VO as in VF, this is a demonstration soundtrack.
No noise
Source France | Publisher : Paramount Pictures | Release date : 30 October 2018
An unusual acoustic work, this Dolby Atmos mix (only reserved for the VO) which gives the same importance to the intense effects and the most insignificant noise is incredibly immersive. From light rustling of leaves to the heavy presence of creatures, to the harmonious singing of birds and unwanted discordant sounds, every effort is made to ensure that the sound field is as wide and active as possible. It is dynamic, perfectly spatialized (an exceptional placement), enveloping (many activity at the back and ceiling) and always robust (a low range of great depth). And in order not to spoil anything, the disturbing score is spacious and the (rare) dialogues are delivered with what is needed of softness and clarity. Less « Demonstrative » as to the authenticity of the environmental atmospheres and the aggressiveness of the monsters (which unfortunately can no longer be traced, except to activate the 3D DSP of its amp, when they move above us), the VF Dolby Digital 5.1 remains no less honest bill.
The Batman
Source France | Publisher : Warner Bros. | Release date : 06 July 2022
Both for VO fans and VF fans, this Dolby Atmos soundtrack with exemplary distribution and relevant power is a long funeral walk to darkness... Supported by deep basses which, remarkably used (the techno music of the Iceberg Lounge, the blows carried, the turbine of the Batmobile, the carambolage), cover the acoustic space of a particularly oppressive atmosphere, it lets itself go to a feverish dynamic (the race-continuation), uses to profusion of its effects and/or atmospheres, at the back as well as in the heights (the Bat-Grappin, the rain, the wingsuit flight), and moves at the rhythm of a rolling score signed Michael Giacchino.
Top Gun Maverick
Source France | Publisher : Paramount Pictures | Release date : 02 November 2022
As close as possible to the turbines, these audio tracks both encoded in Dolby Atmos (a first for the publisher) Paramount) will nail you! 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.
Twister
Source France | Publisher : Universal Pictures | Release date : 16 October 2024
Reference one day, reference all the time? Yes, thanks to a Dolby Atmos remix (in VO at least) of madness that offers a just memorable acoustic experience. For at the heart of the action, with its disproportionate dynamics and its whirlwind effects (a breathtaking verticality), it deploys a dizzying immersion (hurling winds, roaring tornadoes) supported by low vehementness. Although effective, VF DTS 5.1 cannot support comparison.
Top DTS:X
Backdraft
Source France | Publisher : Universal Pictures | Release date : 15 May 2019
A DTS:X remixing of anthology (used to VO) that will never stop looking for the limits of your audio system. It must be said that at the time (in 1991), Gary Rydstrom had already created a memorable soundtrack. The intensity of the dynamics is incredible, the richness of the acoustic scene is evident, the activity on all channels is ultra-engaged, the breadth of Hans Zimmer's superb score is obvious, the clarity of the dialogues does not weaken in spite of the chaos in the room, and the depth of the bass is absolutely terrifying (cf. explosions and the roaring of the flames). And thanks to the height scene (birds, reverberations, alarms, water, cracks, falls and especially fire), fires spread in the listening room as never before. Similar to the previous Blu-ray, the VF DTS 5.1 cannot fight with equal arms in the face of frenzy (but what energy!) and physical pressure (your LFE channel better know how to cash) sent by the VO.
Bad Boys for Life
Source France | Publisher : Sony Pictures | Release date : 1 July 2020
Certification IMAX Enhanced
Passing a hip-hop tracklist always adapted to the atmosphere, our anti-heroes are accompanied by a muscular soundtrack (acoustic accelerations at the slightest incartade, constantly engaged spatialisation, pyrotechnic effects that scroll from everywhere) using generously high channels during the final scene. The VO DTS:X has a more upset dynamic where the VF DTS-HD MA 5.1 delivers larger basses.
Battleship
Source France | Publisher : Universal Pictures | Release date : 1 June 2017
A DTS:X VO that will test any audio system. The dynamics are invigorating, the persuasive magnitude, the spectacular spatialization (waves, shell fire, gunshots), the ultra-efficient surrounds, the very active aerial scene (terrestrial aircraft, projection of rotating cracked spheres, alien ships), the heroic enveloping score and the devastating basses (explosions, sound waves). The VF DTS 5.1 is quickly touched before being cast.
Dracula Untold
Source France | Publisher : Universal Pictures | Release date : 03 October 2017
Feeding medieval atmospheres, warrior effects (cries, bursts of blades, gunshots), epic music and low combative, this powerful soundtrack DTS:X (attributed to the VO) stuffed with sounds in heights (wind, bats, echo of caves, etc.) is perfectly spatialized. Dialogues are clear, effects abound in acoustic space (wind, chaos of battles) and dynamics are particularly aggressive. The VF DTS 5.1 is more smooth (a less precise acoustic distribution) but no less hindsighted, and is also very spectacular in addition to being provided with careful dubbing.
Blood and Tears
Source United States | Publisher : Universal Pictures | Release date : 09 August 2016
Absence of VF and STFR
A dynamic as well as subtle mix where the dialogues (sometimes murmured) are well integrated into the various effects (rain of bullets, explosions) and/or environmental atmospheres (insects, forest noises), where all the channels are pressed with as much precision as power (the aerial scene distributes many sounds such as the presence of animals, passages of helicopters, the spread of bullets and debris fallout), where Steve Jablonsky's ethereal score is very balanced and where the LFE channel gives to heart many times. So this is a DTS:X warrior track that has it under Colt M4!
Fast & Furious 8
Source France | Publisher : Universal Pictures | Release date : 16 August 2017
A VO DTS:X heavy mousse with the bursting dynamics, the optimal spatialization, the rich effects/ambiences that fuse on all sides (an active aerial scene with among other things vehicles falling from the buildings, the ice cracking over a submarine and a remotely controlled missile chasing a Dodge Charger), the perfectly airy score and the denial bass. The VF DTS 5.1 is less vrombing but remains quandary.
Gods of Egypt
Source United States | Publisher : Lionsgate Films | Release date : 31 May 2016
Absence of VF and STFR
No respite for the eardrums in front of this incessant sound flood. The dynamics are extremely wide, the atmospheres (the crowd, the flames, the reverberation of the divine voices) are enveloping, the effects velocating from one speaker to the other, the aerial activity is regularly exploited (the fauna, the waterfalls, the flights of Horus), the rear scene is very busy, the epic score is well inside and the basses are titaniumsque. To date, certainly the best track DTS:X that I could test!
Gladiator
Source France | Publisher : Universal Pictures | Release date : 02 May 2018
A VO DTS:X dazzling enough that manages to magnify (or rediscover) the already fabulous mixing of the work (an Oscar anyway). Between the vigour of the dynamic, the ease of spatialisation (the distribution and the movements of the various noises are remarkable), the envelopment aroused by the atmospheres, the commitment of the effects (the shock of the swords, the roaring of the tigers), the activity of the surrounds (the spinning of a mass, the madness at the heart of the Colosseum) and the aerial scene (the arrows, the catapult balls, the cheers of the crowd, the human presence above the basements of the arena, etc.), the magnitude of the memorable music, the solidity at all the test of the basses and the clarity of the voices, this remastered track offers us a very great sound show. Similar to the previous Blu-ray, the small VF DTS 5.1 gets abused even if it remains rich (the basis of mixing is there) and powerful.
Jumanji: Next Level
Source France | Publisher : Sony Pictures | Release date : 27 May 2020
Certification IMAX Enhanced
Dignified from a video game, the VO DTS:X is a robust soundtrack with effect « sound bubble » attractive. An immersive 3D experience that offers a rich and dynamic soundscape, where the clarity of dialogues is never undermined by the completely maboule multichannel activity of action scenes (including races-continuations with giant ostriches or jumping monkeys). The surrounding effects are clever as possible, the verticality never ceases to surprise (the avatars falling from the sky), the adventurous score of Henry Jackman enjoys a wide opening and the bass really do not lack impact (cf. drum bearings). Even if exceptional, the VF DTS-HD MA 5.1 decomposes a little less once the game is launched.
Jurassic World
Source France | Publisher : Universal Pictures | Release date : 22 May 2018
If the adventurous score, the atmospheres (of jungle, laboratory and amusement park) searched, the thundering effects (the dinosaur cry) and the beautifully calibrated spatialization are still part of the part on the VO DTS:X, the bass to the tab (the steps of the Indominus Rex) and the dynamic always ready to fly away from the previous mixing DTS-HD MA 7.1 have been somewhat temperate. In return, this 3D audio track gains a superior scene far from being anecdotal (advertising for visitors, helicopter blades, movements inside the gyrospheric sphere, roaring hybrids, attack of pterodactyls). So less titaniums (while keeping in mind that the soundtrack is not lacking in any depth) even if finally more inclined to plunge us into the heart of the action. Even if effective and sometimes more sinister than his conœur, the VF DTS 5.1 cannot fight spatialization and scale.
The Incredible Hulk
Source United States | Publisher : Universal Pictures | Release date : 10 April 2018
A cataclysmic VO DTS:X with barely credible dynamics (the first encounter with Hulk), where bass and surround effects are at the party. The spatialisation abounds with information, the effects/ambiances are furiously enveloping (the machines in the bottling plant, the students on campus, the army in the streets of the city), the air scene provides timely support for mixing (alarms, rain, various projectiles) and the score is exciting. A little in retreat, the VF québécoise DTS 5.1 lacks depth, energy and details at the back to anger its 3D cosister.
The Last Witch Hunter
Source United States | Publisher : Lionsgate Films | Release date : 1 March 2016
Absence of VF and STFR
Bruying and strongly animated, this neat DTS:X mix ensures the show. And it must be said that with its always perceptible dialogues, its diabolical dynamics, its regular and immersive atmospheres (urban life), its numerous and carefully spatialized effects (the presence out-of-field of cracks during the intro), its hyper-active surrounds, its aerial scene that does not miss any opportunity (the breath of torches, the echo of voices in caves, the chaos of a storm, the wing beats of a swarm of butterflies, etc.), its wide and rhythmic score, and its sensational bass, to say the opposite would make no sense.
Return to Zombieland
Source France | Publisher : Sony Pictures | Release date : 11 March 2020
Certification IMAX Enhanced
More extravagant than the VF DTS-HD MA 5.1 thanks to a better spatial presence but not as powerful because of lower basses (which remain however solid), the VO DTS:X abounds with effects/ambiences of all kinds (the best being those related to zombies) that circulate from one speaker to another with great fluidity. The height scene is also not forgotten with, among other joyous, the fall of a tower, a fireworks, the « figure » a monster truck and throwing objects. Immersive and intense (good dynamic management), this excellent soundtrack also shows a welcome subtlety (dialogues).
R.I.P.D.: Ghost Brigade
Source France | Publisher : Universal Pictures | Release date : 07 December 2022
Dynamic and immersive sound tracks (all the speakers are at the party) to precise spatialization, devastating effects (fires), to the very busy rear scene (it « spit » (composed by Christophe Beck) electrifying. And if the little VF DTS 5.1 really does not lack verve, do you say that the VO DTS:X is just MONSTRUEUOUS with its tenfold intensity and its agitated verticality (often related to the presence of « crevices »).
Van Helsing
Source France | Publisher : Universal Pictures | Release date : 14 August 2017
Very powerful sound tracks (including VF DTS 5.1) that do not make in lace. The dynamics are impressive, the dialogues are audible in all circumstances, the effects are on both sides of each movement sequence (the arrows of the murret-murreuse), the atmospheres are ultra-enveloping (villagers wielding torches) and the many serious descents feel physically. And if hearing insanity is only more accentuated on the VO DTS:X, it is because it is not content to considerably widen the acoustic space (the wind's breath), it adds a vertical dimension far from being anecdotal (torch throws, roaring flames, arrows and/or flying creatures, lightnings, etc.) to the mixing.
Honorable Mention
Apollo 13
Source France | Publisher : Universal Pictures | Release date : 05 December 2017
As impressive as it is, the VO's DTS:X remix sounds like a big improvement to the old DTS-HD MA 5.1 track. More energetic and powerful with thicker sounds, it also benefits from a more enveloping spatialisation (the surround voices are better exploited) thanks to an unprecedented vertical presence that allows you to feel better the different events (just launch the launch sequence to convince you). In addition, the music of James Horner which is ventilated on all speakers is even more extensive and bass much more vigorous. As for the VF DTS 5.1, with its lower impact and less refined spatial positioning, it is simply not the weight.
Avatar: The Waterway
Source France | Publisher : 20th Century Studios | Release date 23 June 2023
PThe Dolby Atmos VO, once the volume has 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.
Blade Runner 2049
Source France | Publisher : Sony Pictures | Release date : 14 February 2018
QYou opt for the Dolby Atmos VO or the DTS-HD MA 5.1 VF, it's 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!
Black box
Source France | Publisher : Studiocanal | Release date : 12 January 2022
Taking advantage of the auditory acuity of its chief investigator, this fantastic Dolby Atmos track with ultra-worked sound design (which is a bit the heart of the plot) is immersive as possible. The sound details abound from all sides (brouhahas, acoustic nuisances, bits of dialogues), the dynamics fly away several times, the atmospheres are incredible realism (activity in the airline, the presence of journalists at the press conference), the score embarks with magnitude, the « silences » subjectives leave speechless (cf. Mathieu Vasseur's noise filters) and the LFE channel allows the attack of memorable infrabasses (in particular at the very beginning). Too localised at the back in comparison, the DTS-HD MA 5.1 proposal is not equipped with the bubble effect of its 3D consœur. Spaceization is not as airy, transitions from one speaker to another are less natural and the aerial scene is absent (even though a large part of the mixing lies in the sounds heard by the helmet).
Furiosa: Mad Max saga
Source France | Publisher : Warner Bros. | Release date : 02 October 2024
EThis 16-bit Dolby Atmos blending (a 3397 kbps VO and a 3372 kbps VF) with the crazy dynamics and frantic effects has as much under the hood as the one of the VF's Fury Road Even if the action is less pervasive. In return, it raises tension (a growing auditory assault) and considerably develops the sounds of Wasteland (as on Green Earth and Petroville). The (rare) dialogues that do not only pass through the central channel are of great clarity even though the apocalypse resonates all around (the same is true in our language despite an unconvincing dubbing), the separation of the channels is exemplary with an acoustic precision of all the moments and the implacable beats of the LFE channel are of incredible authority (cf. the motors of the « thunder bike » and « War carrier »). The verticality is propelled by its inexorable presence (projectiles of rocket launchers, megaphones mounted on the « prison because », flies in putrid undergrounds, echoes in the Citadelle, pulleys and other chains in the « Maison des Saints Motors », « flying warriors », the innumerable noises of cracked sheet metal, the overflights of ravens, the sand storm, etc.), the captive surround scene all along passing the second as soon as the narration requires it (in particular at the Moulin à Balles) and the visceral score of Junkie XL, whose volume has been increased compared to the cinema mix, conquers space with a prodigious magnitude. A hell experience for a DEMO TOP already inscribed in the legend!
Gemini Man
Source France | Publisher : Paramount Pictures | Release date :05 February 2020
With a fierce dynamic (the impact of the shots) and ultra-realistic spatialisation (the « sound objects » The Dolby Atmos soundtrack, reserved for VO (the VF Dolby Digital 5.1 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.
Godzilla vs Kong
Source France | Publisher : Warner Bros. | Release date : 07 July 2021
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!
Hunter Killer
Source United States | Publisher : Lionsgate Films | Release date : 29 January 2019
Absence of VF and STFR
An Atmos track that regularly engages the high channels (water pressure, cracks of the hull, reverberation of sounds, explosions and j-en pass) to dive into the sub's passageways. And that's not all because the dynamic range is monstrous, the spatialization is neat, the overactive rear scene, Trevor Morris' score well distributed, the heavy basses and the dialogues are always clear. From « Stuffed mousse » That's what I'm talking about.
King Kong (2005)
Source France | Publisher : Universal Pictures | Release date : 25 July 2017
Eeven more wide and open than the previous soundtrack DTS-HD MA 51 for a VO DTS:X (24-bit, 7413 kbps) titanium with maximum envelope... The addition of verticality, far from being annoyed (cf. the rush of the brachiosaurs and the pit to the giant insects), adding to a sound of every moment. The spatialisation is even more palpable (the atmospheres of the New York jungle, the fauna and flora on Skull Island), aggressive rear activity, the perfectly targeted effects (road traffic, the presence of the bestiary), the vehement dynamics, the crystalline dialogues, the score of James Newton Howard (between lyrical softness and tribal ferocity) particularly large and the colossal bass (King Kong screams, heavy steps of reptiles, motors of the SS Venture). Very slender at its level but necessarily less precise in its rendering, the VF DTS 5.1 (24-bit, 768 kbps) delivers whatever happens from the great acoustic spectacle even if a little more « dry » than in his 3D friend. If the dubbing is of quality, the voices are too prominent vis-à-vis the other audio components of the mixing.
Le Mans 66
Source France | Publisher : 20th Century Fox | Release date : 18 March 2020
Awarded for the Oscar for the best sound editing, the VO Dolby Atmos has remained for many years as the best acoustic proposal available in 4K Ultra HD !!! Using its verticality as soon as necessary (the throttle of the engines, the voice of the presenters, the overflight of a car, the passage of an airplane, explosions, rain, thunder) while engaging all the horizontal speakers with a very incredible directivity (spaceization is fabulous), it also benefits from an ultra-sportive dynamic, a large score, always audible voices and phenomenal basses (mechanical roaring). Very demonstrative at its height, however, the VF DTS 5.1 leaves us simple spectators where its English consoeur, who manages to climb more easily in the towers, embarks us on the side of the pilots; And believe me, the emotions and sensations are multiplied. It's a mess!
King Scorpion
Source France | Publisher : Universal Pictures | Release date : 27 April 2022
Amplified to whom better and particularly pleasant, this mixing that diffuses effects/ambiences in all directions remains no less harmonious and diffuses voices of good clarity, a score (by John Debney) intense anachronistic rock and copious bass. But to really enjoy all this fuzz, it's the VO DTS:X that you have to select. With a greater spatial width and a much wider scope than the VF DTS 5.1, it allows more particularly to have fun with many sounds. « discarded » by high enclosures (explosions, the fall of a chandelier, debris, local fauna, arrows, the tumult of the streets of Gomorrah, men projected there and there, etc.). A pleasure all the time.
Matrix
Source France | Publisher : Warner Bros. | Release date : 31 October 2018
If the VF Dolby Digital 5.1 (640 kbps) remains unfortunately unchanged (and what to say if it is only sprayed by the English track), the VO Dolby Atmos (24-bit, 4868 kbps) saw it remixed for a very bluffing result. The voices are always perceptible, the dynamics are monstrous, the spatialization is prodigious (the trajectory of the bullets during the bubble-time on the roof), the effects are striking (the sound of the impactors, the impacts on the walls, the blows carried), the atmospheres are ultra-immersive (climate conditions, dives from one world to another, passers-by during the matrix training program, computer noises on board the Nebuchadnezzar), the surrounds are in the grip (it's a festival during the shootings), the air scene is regularly felt (rain, thunder, the resonance of the shots, the blades of a helicopter, the presence of Sentinels within the hovercraft, etc.), the score « Send wood » And the bass are virile at will. To make it simple, this sound mixing locks us in a dreadful sound bubble.
Mission: Impossible - Fallout
Source France | Publisher : Paramount Pictures | Release date : 02 October 2019
Exceptional in all its components, the VO Atmos (24-bit, 5026 kbps) is a killing. The mix is perfectly balanced, the sound design is meticulous, the acoustic space is fully exploited, the dynamic strikes (very) strong, the effects as the atmospheres are as diverse as possible, the dialogues are clear, the rear scene gives generously of his person, the aerial coverage is fully engaged (the noise of the air, the reverberation of the voices, the passages of helicopters), Lorne Balfe's stubborn music is returned with great care and the basses are firm. As of course, the VF limited to a simple Dolby Digital 5.1 (640 kbps) is literally crushed by the devastating power of the VO.
Mortal Engines
Source France | Publisher : Universal Pictures | Release date : 17 April 2019
The VO Dolby Atmos is ultra-engaging and provides a monster dynamic, delivering a staunchly 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. Despite a weakened power and a less abundant sound scene, the VF Dolby Digital Plus 7.1 pulls beautifully.
Transformers: The Last Knight
Source France | Publisher : Paramount Pictures | Release date : 02 November 2017
To explode the eardrums so rich and powerful acoustically speaking, this soundtrack Atmos (exclusive to the VO) 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 Dolby Digital 5.1 obviously cannot compete, it remains consistent and very energetic.
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