You got a 3D sound configuration (Dolby Atmos, DTS:X and/or Auro-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... Simply read this top (classified alphabetically)!
As it was necessary to make choices, some titles like Mad Max: Fury Road, Oblivion, Pacific Rim, Robin Hood (2018) or San Andreas were left out. Nevertheless, be assured that they deserve your attention as well.
Contents
13 Hours
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 VF (on a smaller scale and with less detailed surrounds) cannot compete with the VO that literally plunges us into the heart of the 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.
US edition – English Dolby Atmos – French (Quebec) Dolby Digital 5.1
Alita: Battle Angel
Equipped with a sound design of rare wealth, a spatialisation of madness and an impressive scale, the VO Dolby Atmos gives itself without counting. The flights of the dynamic are remarkable (the assault of the Centurions and the runs of Motorball deploy an incredible energy), the soundscape comes to life on all sides (the atmospheres overflow everywhere), the surrounding activity is constant, the aerial scene shows a real commitment (music, pyrotechnic effects, crowd noise, a presenter, etc.), the score of Tom Holkenborg (Junkie XL) is enveloping as possible, the bass express with force (from the beginning with the unloading of the waste from Zalem) and the dialogues (sometimes out of the field) are faithfully reproduced. A little less immersive and striking, VF remains dreadfully effective. In both cases, the soundtrack is thundering.
English edition Dolby Atmos – French SDR 5.1
Aquaman
For fineness we will go back, but the Dolby Atmos mixing is a demonstration of strength of formidable efficiency. It enjoys a (very) large dynamic range and deploys all the speakers at its disposal without dropping the pressure. Effects such as atmospheres emanate with precision from all sides (the surrounds are well nourished), Rupert Gregson-Williams' score pierces the hatches with force, the LFE channel regularly balances surprising infragraves, and the voices are all intelligible (in both VO and VF). As for the aerial scene, it unfolds generously when the narrative commands it (submarine immersion, gunshots, seagulls, echoes, nautical vehicles, the presence in height of certain characters and j
English and French edition Dolby Atmos – English and French DTS-HD MA 5.1
Bad Boys II
Detailed and enveloping, this blending of anthology delivers aggressive dynamics, prolific atmospheres, effects (especially pyrotechnics) springing from everywhere, a swirling score and delusional basses. Even though the VF is as impressive as it is, the fully operational air scene of the VO Atmos (music, music, « jets » cars, explosions, debris and various atmospheres) allows the latter to be even more sensational.
US edition – English Dolby Atmos – English and French (Parisian) DTS-HD MA 5.1
Blade Runner 2049
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!
English edition Dolby Atmos – French DTS-HD MA 5.1
The Song of the Wolf
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.
English edition Dolby Atmos – French DTS-HD MA 2.0
Fast & Furious: Hobbs & Shaw
The VO Dolby Atmos is a demonstration soundtrack where the work on immersion (between explosions, debris, aerial gear and the robotic voice of the terrorist organization Etéon, the high channels have enough to do) is equal to the punch of the bass. Despite excellent dubbing and careful spatialization, VF is anemic at the possible (dynamics to absent subscribers and LFE channel in withdrawal). In short, it is as flat as that of Battleship...the same publisher!
English edition Dolby Atmos – French Dolby Digital Plus 7.1
Gemini Man
With a fierce dynamic (the impact of the shots) and ultra-realistic spatialisation (the « sound objects » The Dolby Atmos soundtrack, reserved for the VO (the VF is much less physical and immersive) is an acoustic demonstration of every moment. Multichannel activity is incessant, with channels of height included (passage of an aircraft, « jumping a motorcycle »The LFE channel is extremely well used for serious and infra-graves (especially stirring), and voices enjoy a beautiful presence.
UK edition – English Dolby Atmos – French (Parisian) Dolby Digital 5.1
Gladiator
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 little VF gets abused even if it remains rich (the basis of mixing is there) and powerful.
English edition DTS:X – French SDR 5.1
Godzilla II: King of Monsters
Ultra-enveloping and equipped with titanium bass, these Dolby Atmos soundtracks that shake mercilessly plunge us into the heart of action. The voices (which can move in the sound scene) are clear, Bear McCreary's score is very airy, all speakers are generously exploited with overflowing surround channels of effects/ambience and a fantastically ubiquitous aerial scene (helicopters, debris, monsters, aircraft, thunderstorms, deflagrations of energy), and the dynamics show great ardour. It's intense and heavy!
English and French edition Dolby Atmos – English and French DTS-HD MA 5.1
Hunter Killer
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.
US edition – English Dolby Atmos
We have to save Private Ryan.
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!
English edition Dolby Atmos – English and French Dolby Digital 5.1
Jumanji: Welcome to the jungle
Certainly the most playful and attractive Atmos track that I have been able to test to date. With a wild energy, an assertive power, impeccable spatialisation, thundering pyrotechnic effects (motorbike pursuit, helicopter flight), palpable atmospheres (the flora and fauna of the jungle, the « life » in the market), from an engaging rear scene that does not rest, from an assiduous vertical dimension and above all ultra-advertising (the respawn of heroes, the fearful drums that prevent danger, the cartoon flight of the NPCs struck by Dr. Smolder Bravestone, the music Baby I Love Your Way In combat dance sequences, the main rotor of the helicopter, etc.), a large partition that sends without losing in instrumental nuances, and well-rounded bass (again drum bearings but also rhinoceros jolts and elephant steps), this mixing of anthology is quite entertaining. And good news, the VF's services are not disappointed because they are very close to those proposed by the VO (actually lacks only the higher dimension).
English edition Dolby Atmos – French DTS-HD MA 5.1
Matrix
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
English edition Dolby Atmos – French Dolby Digital 5.1
Le Mans 66
Awarded for the Oscar for the best sound editing, the VO Dolby Atmos is 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 leaves us simple spectators where his English friend, who manages to climb more easily in the towers, embarks us alongside the pilots; And believe me, the emotions and sensations are multiplied. It's a mess!
English edition Dolby Atmos – English DTS-HD MA 2.0 – French DTS 5.1
Mission: Impossible - Fallout
Exceptional in all its components, the VO Atmos 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 is literally crushed by the devastating power of the VO.
English edition Dolby Atmos – French Dolby Digital 5.1
Mortal Engines
Ultra-engaging and endowed with a monster dynamic, the Dolby Atmos track delivers a dreadfully immersive acoustic spectacle and unheard of richness. The spatialisation occupies space as rarely (the sounds travel regularly at 360°), the effects like the atmospheres (the incessant metallic noise of the predatory city and Scuttlebug) are broadcast with precision and magnitude on all the enclosures, the surrounding canals are extremely busy, the aerial sphere is as inventive as it is intelligently exploited (London which « devour » the small mining town of Salzhakendes, the passage in the « sawmill », wind, flying gear, flashes caused by activation of MEDUSA, etc.), Junkie XL's score (Tom Holkenborg) pulses properly, low frequencies shake badly (constant buzzing of engines, explosions, gunshots, crashes, quantum energy of the super weapon and j-en pass), and dialogues are perfectly intelligible. Tested on the French edition (it's important to have friends close to home), the VF shoots beautifully despite weakened power and a less abundant sound scene.
Edit DE – English Dolby Atmos – English Dolby Digital Plus 7.1 (only on the edition EN)
Ready Player One
A truly hallucinating acoustic richness, this Atmos mixing (DTS-HD MA 5.1 not tested) 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.
English and French edition Dolby Atmos – English and French DTS-HD MA 5.1
Transformers: The Last Knight
To explode the eardrums so rich and powerful acoustically speaking, this Atmos soundtrack that breaks the barrack is a particularly immersive and tastyly balanced experience. The dynamic breaks everything in its passage, the dialogues are always clear, the spatialisation is an incredible precision, the pyrotechnic effects make a sensation, the atmospheres are enveloping, the front scene is in constant effervescence, the use of the surrounding channels is generous, the high sounds are not lacking (fire balls, flying means of transport, echoes, deflagrations, etc.), the music is large and the colossal low frequencies. While the VF obviously cannot compete, it remains consistent and very energetic.
English edition Dolby Atmos – French Dolby Digital 5.1
Valerian and the City of the Thousand Planets
A mix Dolby Atmos loud as necessary where atmospheres, effects and music go through all the speakers with the help of optimal spatialization. The voices are crystal clear, the sound details are ultra-numerous, the very rich surround activity (Valerian's chase in the City of the Thousand Planets), the memorable height effects (the fall of ships on the planet Mül, the voice of the Intruder, announcements at the Big Market, passages of spacecraft, debris of explosions, etc.) even if not overexploited, and the deep bass. The VF is not as enveloping but remains engaging and highly dynamic. By going through the French disk, the VO remains unchanged while the VF moves to the Atmos format. And if the dialogues are a little too much put forward, it is equal to the VO.
US edition – English Dolby Atmos – French (Parisian) Dolby Digital 5.1
With this selection we have something to please his ears 👍
Right? 😉
Interesting to actually make demos or watch a movie that we already know well in VF, but unfortunately the majority of us watch in VF.
It would be great to make a top VF soundtracks and more useful I think.
Except it's in VO that I watch the movies... And a few VFs after the session to talk about it in my tests. But unfortunately you are right, the majority of French consumers turn to VF. 🙁
Except that you do tests on a French site and as you point out, the majority look in French (including me) 🙂
Certainly, but a film must be viewed in its original language... At least for me. It is impossible, or almost impossible, to look at a foreign work in VF. But since I'm not selfish, there's always a little word to talk about the French soundtrack. 🙂