"WELCOME": Test Blu-Ray "News" DTS-Phile | The acoustics in High Definition movies

"WELCOME": Test Blu-Ray

F or impress and win back his wife, Simon, lifeguard at the pool of Calais, take the risk to secretly help a young Kurdish refugee who wants to cross the English Channel.

PRESS, INTERVIEW WITH PHILIPPE LIORET

How did the project WELCOME?

First the immense desire to make a film on that subject and not on another. Of those guys who, fleeing their country ill, desperate to reach the Eldorado what England to them and who, after an incredible journey, find themselves stuck in Calais, bullied, beaten and humiliated a few kilometers offshore English they see there. One evening, we discussed this with Adam Olivier and I thought this place was just our Mexican border to us, he only had to dig to find a great drama. I spoke with Emmanuel Courcol and we started thinking about a story that would happen in that context.

How you have done?

With Emmanuel, we contacted the associations that they can to help these guys and we went to Calais. During several days of a cold winter, we coasted the lives of these volunteers and the infernal refugee: the "jungle" in which they find refuge, racketeering smugglers, the relentless police persecution - an entire garrison of their CRS is dedicated -, detention centers, controls the trucks in which they weave to get on the ferries and in which they risk their lives to escape the CO2 sensors, heart beat, scanners, etc ... What we really surprised this is the age of refugees, the oldest are not 25 years. There are even kids of fifteen years who undertake this journey alone crazy. Speaking with Sylvie Copyans association Salam, it was learned that several of them, in desperation, had even tried to swim across ... After a few days, we returned to Paris with all that in head, without saying a word in the car.

How developed is the frame of the scenario?

This story of a young guy who wants to cross the English Channel haunted us. This is Emmanuel, who first said: "It goes to the pool to train in Calais." And I added: "And he meets a lifeguard." In two sentences, it was the plot and characters, knowing that we were not in a "surscénarisation", a story in two balls, and we do not betray the refugee experience. The subject was so strong, so embodied by the news of migrants, the need that honesty bonus. That's how was born the character of Simon. He had to leave the documentary aspect and bring the characters to their stories, their emotional relationship that conditions so everyone's life and is often behind. Watching live volunteers, I thought that some of them probably shared their lives with a spouse who probably did not always their generosity and commitment. Simon is someone fallible as we are all far from perfect. Initially, like most of Calais, he is not concerned with the problem of migrants, he suffered: "He looks down and goes home," as Marion, his ex-wife. Younger, he came close to a great sporting career and this failure has left him bitter. He locked himself in his life lifeguard and his only problem now is that Marion has left him. When he meets Bilal, using it for the wrong reasons. If he offers to house them, he and his buddy Zoran, it's just to impress Marion, to prove that it is not the individualist believes that it is all in the order to regain it. And it'll slip: to help illegal immigrants, is punishable by law.

IMAGE

Pressing in a very good standard, which does not propose an image typical video, but, rather, breathable lining original silver grain elegantly image, giving it texture and film insurance. No special saturation is reached, the film featuring dark colors and dull most of the time, pulling the blue-green, the color temperature with a strong cold. The representation of the vile of Calais shows in the realistic sense, the filmmaker does not opt for an approach superfluous or flashy, either the style or texture images. Regrettably a flickering black level, which does not quite his role in numerous sequences within or outside at night, and bending of contrasts, where certain inconsistency in this work. Some granularity intervened on several occasions during the night sequences, mixing with less success in this thin layer of photochemical grain, so elegant otherwise. The image exudes natural in his large ensemble, and takes this contemporary reality with skill and accuracy. Moreover, the depth of field, without being pushed exagéremment, will surprise on many occassions. The image sharpness is qualifiable good, even great at times, and does not add unnecessary detail. The contours are natural and have not undergone visiblemet 'improvements' unwelcome. The definition of the image merely to illustrate with a certain force under this poignant drama, and reveals plans pricked, naturally silver. Finally, note that the MPEG-4 AVC encoding displays an excellent fluidity and smooth do not take if: it encompasses all with efficiency and finesse, never letting appear artifacts or other compressive blunders. A strong and fair edition, which undoubtedly benefits, but always humbly, given the intimate atmosphere of the film, its passage in High Definition.

ITS

wolverine-3 Warner renews its transition to DTS-HD Master Audio, and offers an audio track encoded as 16 bit (a very bad habit of the editor ...), for a bitrate of 1400 Kbps. At first glance, nothing very striking, especially if one relies on incorrect information from the back cover, which merely mentions the only Dolby Digital codec, however, totally absent from this edition. Mixing respects the intimate nature and human film, and offers above all else a superb capture of dialogues, which radiate natural, and occupy the center lane with a great stage presence. Height, volume, accuracy, enhanced by a dynamic severely impactful, which allows a realistic representation of pleasant ambient sounds or dialogued. As such, most of the mixing of the film will be focused on the frontal arc. This facade discloses numerous environments, which are transcribed with the plume and volume, without any worries or level of homogeneity. Precise and detailed, the soundtrack work to restore the heart with multiple moods of daily life: well, the sound of the radio, a telephone ring or a kitchen are being translated acoustically with laudable dexterity, and a particularly remarkable sense of immediacy. The rear channels are not neglected for south wind, and on rare occasions, they take the stage to complete the formation of a soundstage complex (pool, streets, urban environments, swimming ...), while offering perspectives acoustic rather sharp, never dimmed. The encompassment there certainly not the most optimal, but it has the merit to exist and to instill a realistic and creative energy that fills the entire film. Capable of sound radiation very relevant, the scene shows a beautiful front dynamics, and the codec DTS-HD Master Audio to work in return all expressive nuances if contrasting, never alter or too dim rendering, contrary to what the one might have expected, and contrary, too, that the publisher offered us all these years DVD. Dynamics is vivid and real, and sometimes well this dimension. The dimensioning of the soundstage demonstrates clarity benefactress Codec DTS-HD Master Audio, which also provides the magnificent score by Nicolas Piovani (a regular's films) a tremendous aeration and spatial presence that can not not suspect. Successful candid, never shy, always pleasant and responsive, putting no space with tact and great detail.