Source France | Publisher : Warner Bros. | Release date : 20 November 2024
Video format
2160p24 | Ratio 1.85
HDR10 | Dolby Vision | BT.2020
HEVC encoding | DI 2K
Soundtrack
English Dolby Atmos
English DTS-HD MA 2.0
English DTS-HD MA 5.1
Subtitles
English
French
Rated 4 out of 5
Artistic : 9.5 | Video : 7.5 | Audio : 9
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 (extracted from a free-of-rights image bank and the 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 (Dolby Dark Vision)
Sources : Oppo UDP-203 Audiocom Reference | Zappiti Reference
Pregnant : Sennheiser Ambeo Soundbar Max (Dolby Atmos | DTS Neural:X), SVS SB-4000
WORK - The Future on Conditional
In Los Angeles in 1984, a Terminator, cyborg emerged from the future, was tasked with executing Sarah Connor, a young woman whose unborn child had to save humanity. Kyle Reese, a human resistant, also arrives to fight the robot, and help the young woman...
A classic of cinema d'action and anticipation of the 80s that ancra the Terminator, mythical 7th art character, in collective imagination. And while suspense (a growing tension as the hunt intensifies) causes a rapid reflection on the dangers of AI, James Cameron (Terminator 2, Avatar and its sequel) delivers a timeless, highly entertaining work where in a dark and crumbling Los Angeles, metaphor of the dystopic future, humanity (Linda Hamilton and Michael Biehn) struggles for its survival (a series B warrior) against the relentless threat of technological warfare (Arnold Schwarzenegger). A legendary saga had just begun! My name is Kyle Reese. I'm here to save you. You're the target of the Terminator. "
Kyle Reese
Optimized in 4K by AI learning algorithms developed by
(a subsidiary of Park Road Post ), the 2K restoration (resulting from a 4K scan of the original 35 mm negatives) which was discovered in 2012 on the Blu-ray WingNut Filmsthe production company of Peter JacksonThere is a second youth (despite visible surgery), although a new 4K restoration (as in 99% of cases) would of course have been preferable. Face-to-face MGM of previous recollections « profit » of this process , the latter climbs to the highest step of the podium (at a small brace ofSo taking the HD master of Titanic).
(same framing, geometry, small dusts, etc.) with the underlying colorimetric revisionism (such as the additional layer of root blue or the folding of the heat) that this implies in comparison with the initial photograph of Lowry Digital Adam Greenberg, this UHD Dolby Vision transfer to solid HEVC encoding (a 100GB disk for an average video bitrate of 67 Mbps) separates from the rare traces of postrization that one could find on the old Blu-ray to deliver a flattering (but moderately respectful) image driven more skilfully than at its beginning by the AI...Despite troubles in the development (this is the problem when fuzzy things try to be detailed at all costs), unfortunate detours (thinking of shooting on a green background) and visual aberrations created in the background (the foliages) « Plastics », distorted writings on posters, hairstyles « Playmobil ») or elsewhere (Did Kyle Reese need rhinoplasty?), the accentuation of details and textures is successful in the vast majority of cases. It certainly lacks natural (everything is over-picked), but the improvement of sharpness is so impressive (Dr. Peter Silberman's tweed jacket) that the subterfuge operates...
And the same is true for the granular patina, more really silvery for the coup since it has been subjected to an important degreasing pass before adding a false fine grain under control, whose homogeneity is pleasant to the eye.
Corrected welcome, the X-ActoTM precision knife is finally equipped with a blade... It's still useful to the Terminator to remove his damaged left eye.
On the WCG and HDR side, the balance of the colorimetric palette has been improved and the range of contrasts judiciously widened. Primarys are brighter (reds and blues are overwhelming), other shades are more nuanced (vegetation), warmer carnation, deeper blacks and brighter whites. The luminosity in the dark shows a timely increase and all lighting benefits from increased intensity (the HK-Aerial projectors, daylight, vehicle headlights) without losing some restraint (the MaxFALL was measured at 201 cd/m2 and the MaxCLL at 468 bits). However, the high luminances suffer from a more pronounced cladding than before... The same applies to ceiling lights at the police station where the fluorescent tubes form more than one.
All things considered, this 4K restart « Pimped » Park Road Post's AIA is expected to fill a large number of spectators despite its staggering, fortunately infrequent moments. Obviously, leaving a new 4K scan would have made it possible to gain in general finesse and preserve the true silver texture (assuming that IRON JIM still wants it) that was so well suited to its oppressive atmosphere. But given the circumstances in which this UHD image calibrated in Dolby Vision was obtained, the result is frankly honourable. Be careful however that it does not become a (bad) habit...
- Sarah Connor?
Based on previous remix 5.1 (from 2000 and 2012), the VO Dolby Atmos (16-bit, 3073 kbps) is by far the best multichannel proposal of this timeless work even if the (contraveted) replacement of several noises persists (like those of the shots). However, it does not betray the original soundtrack, since it is intelligently spatialized.
Much more modern and otherwise more immersive (by adding a verticality far from being annodine), it is full of surround effects (pyrotechnics on the battlefield, exchanges of fire, crowds at TechNoir) and enjoys a spectacular sound opening (but slightly too much in places). The dynamics are broken (the attack of the police station), the effects are not lacking, the music with the synth of Brad Fiedel gains in presence and the bass are at the party (explosions, joint of the caterpillars of the HK-Tank, engines). In spite of a somewhat dated integration (so respectful of an era), dialogues remain clear throughout.
Presented in DTS-HD MA 2.0 (24-bit, 1792 kbps), mixing « Original Theatrical Mono » Finally resurrected on physical media (it had disappeared from radars since the 1997 DVD) and proved to be at (or almost) the height of the 1995 LaserDisc. Because with the exception of abusive filtering in the high frequencies and slightly different synchronization of some sounds (the detonation of the shots and Kyle's cry during the motorcycle chase), the vintage experience offends fully.
Far from having the same impact (larger and lower), the VF DTS-HD MA 5.1 (16-bit, 2324 kbps) is still provided with good spatialization. Nevertheless, the treatment of sound design sometimes differs (between absorptive atmospheres and loss of sound) and the overall rendering, little helped by a stifled dubbing, is often unbalanced. Note that the brief desynchronization that occurred in the middle of the film was corrected.
CONCLUSION - He'll come back!
As the storm rises on the human race whose fate passes through in the uncertainty of time, the SF's actuator bourrin of the 1980s exploits in 4K Ultra HD the latest progress made in the field of the AI (enjoyed A/V performances) to regenerate its hyper-sophisticated combat chassis. It's not the T-1000 he could have been, but a very robust T-800!
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Very nice test. The bike kick, mazette is abused like it jumps in the face!
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