Source United Kingdom | Publisher : Second Sight | Release date : 1 May 2023
Video format
2160p24 | Ratio 1.66
HDR10 | BT.2020
HEVC encoding | DI 4K
Soundtrack
English DTS-HD MA 5.1 (Directors Cut)
English DTS-HD MA 2.0 (Theatrical Cut)
English DTS-HD MA 1.0 (Theatrical Cut)
Subtitles
English
Rated 3 of 5
Artistic : 8 | Video : 6 | Audio : 8
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 influence notation. In addition, the images (from the Patreon account of DVDBeaver and site Slowpoke Pics) serve as an illustration and cannot be considered representative of the edition tested.
Test equipment and condition (Config. HP: 5.1.4)
Video broadcaster : Sony Bravia XR-65A95L (Professional HDR)
Sources : Oppo UDP-203 Audiocom Reference | Zappiti Reference
Pregnant : Sennheiser Ambeo Soundbar Max (DTS Neural:X), SVS SB-4000
WORK - Virgin Picnic
In 1900, Australia. Students of a private girls' school go picnic at the foot of a huge rock that was once used for an Aboriginal cult, Hanging Rock. In a narrow rocky parade, three of them and one of their teachers disappear. Searches and beatings are organized to find them...
Virgin beauty, somnambulal rhythm and ghostly opacity for a drama of the venous era which, between dreamism and fantasy, liberates its female protagonists (at least part) from the patriarchal yoke. And as disappearances become forms of liberation in the rocky excrescence, adolescence in bloom can (finally) give free rein to its nascent desires. O time suspended, this is an unforgettable bewitchment!
« Everything we see or appear is nothing but a dream, a dream within another dream. »
IMAGE - The hallucinated mountains
From a 4K scan of the original negative (by the Australians of The Grainery), the restoration carried out in 2022 by the Polish Fixafilm, fully supervised and approved by Peter Weir* and its leader op Russell Boyd, is solidly reproduced by these UHD HDR10 transfers (an average bitrate of 65.4 Mbps for Directors Cut and 56.2 Mbps for cinema version) but displays an artificial texture without doubt when using digital filtering.
The stability of the frame is excellent, the original 1.66 ratio has been recovered (previous editions that were in 1.78 had a slight zoom) and the copy, of an immaculate cleanliness, is not defiled by any form of dirt. But while the image is generally clearer than in the past (cf. increased fineness of hair, patterns on clothing and vegetation near Hanging Rock), its accuracy is drastically diminished by massive degreasing (faces are regularly « wax » and the wide planes abnormally soft) on which a slight strengthening of the contours and a heterogeneous emulation of granularity (which in no way resembles that of a 35 mm capture) were grafted. In fact, the impression of dealing with an intermediate element (which is absolutely not the case) prevails.
* At the end of the 130-page booklet, he stated: « Congratulations, your work has revitalized him. (...) There is a whole new colorimetric depth and the images shine as if they lived from within. (...) You have retained the aspect of the film, while accentuating in a certain way. (...) It's like an old 18th century painting that has been thoroughly cleaned, but not too much. Congratulations to all those involved. »
Then there are the colorimetric retouches that will be debated, as they show a clear revisionism even so strong at the moment.*. With a golden trend, they reinforce many shades (greenness) while enjoying a better saturation of the primaries (blue sky, the openly carnal red dress of Irma). And the same applies to contrasts, the modernization of which benefits the high luminances (better crapped)... In contrast to the darkness which loses in legibility (blacks too densed can even be blocked). MaxFALL was measured at 182 cd/m2 and MaxCLL at 800 nits (higher light sources).
* Capturing Australia's warmth better and assuming more fully its frankly suraned evanescent mysticism, this mordorous new calibration is rather well attended to the disturbing strangeness that nestles the whole film.
SOUND - Just a swan.
Proposed in DTS-HD MA 5.1 (24-bit, 3574 kbps), the Director has not let itself go to any ill-advised modernism and merely opens the acoustic scene for musical flights (notably the primitive sensuality of Pan's flute of Gheorghe Zamfir), dynamic and exploring the rear scene with delicacy. « Prisoner » From the front façade, the rest of the mixing makes well detach noises (moving in stereo space) and dialogues (a beautiful clarity).
The two DTS-HD MA soundtracks of the cinema montage (2.0, 24-bit, 1357 kbps and 1.0, 24-bit, 850 kbps) are necessarily less wide and cleaner. It does not prevent them from remaining of great clarity and preserve a delicious authenticity of restitution.
CONCLUSION - So much for the dream.
This « victorious dream » to no other like, where masks gradually break down behind the polished facade of the boarding school, has abandoned to the midday demon on support 4K Ultra HD since having succumbed to a « polish » Visual damage to his venuity!
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