DTS-Phile | The acoustics in High Definition movies | Blu-Ray, DVD, cinema

S YNOPSIS

Evocation of the tumultuous life of William Wallace, hero and symbol of Scottish independence, which in the late thirteenth century confronted the troops of King Edward I of England who came to invade his country.

PRESS KIT

Castle King John's where many scenes were trounées, has been used for scenes of Beyond the glory of Samuel Fuller.

Mel Gibson has been in trouble with animal welfare organizations who believe that horses used in the violent fight scenes were real, while they were in fact false

Filming is divided between Scotland (for the village scene), Ireland (for the sites of castles, and two major battles), and Ardmore studios (for sequences inside).

Braveheart is the second film after Mel Gibson's The Man without a face. He won five Oscars: those of the best film, director, photography, makeup and sound effects editing.

Mel Gibson turned to Terry Gilliam to direct Braveheart, but it has declined and so he decided to realize itself.

The scene of torture had to be shortened, because it was too shocking. This scene showed all the tortures that William Wallace was scheduled.

Presented in an edition of the dazzling technique, Gibson's film has not lost its verve, and continues to amaze with its accuracy of tone, its staging ambitious and very rigorous.

VIDEO CODEC: AVC
1080p
FORMAT: 2.40:1
BITRATE: 19907 Kbps about
Fox (FPE), France, availability: November 4, 2009

Going straight to the point: if the first few sequences are disappointing due to a definition of a dive and faltering global average, more stable rendering, and offers simply the most beautiful pictures of this 2009 year long . A no doubt, he s'git there's one of the best editions for a title called "catalog". Braveheart is therefore one of the most vibrant examples of imposing technical capability of the Blu-Ray and its related technologies. With 15 years on the clock, the film, much anticipated, does not seem to have aged a bit, or very little, and suffers almost no techniques which are necessary post-processing in a reprint. In this sense, the use of a filter Digital Noise Reduction (DNR), if it shows in very short times, causing a precipitous drop in the presence of the image, but very sporadic, appears measured and necessary . The stability of the image greatly surprised, as well as wealth almost nothing in common the color calibration: the green plains Scottish reflected as ever so far, offering a lyrical pictures and a vibrant expressive power, which leaves traces. Dense, contrasting, vivid and real, multiple primary colors and shades throughout their range, are displayed with clarity and accuracy out of the ordinary, flirting with the prodigious. Natural elements, makeup (blue staggering), steel swords ... all is assigned a prodigious visual poise and beauty. The sharpness of the image, solid as ever, allows to highlight the stunning photography John Toll. Impossible to imagine a sharper image, sharper, more stable, more evocative. This edition is completely at the service of the film. The many battle scenes provide visual perspectives out of proportion, constituting the highlight of this exceptional show: the backgrounds shine of life, while the level of detail of the foreground, dominated armor, weapons, clothing, dresses and coats of arms trace a wealth of details that drive the heart of the film.

The contrasts are sharp and will also show sharp, cutting silhouettes with tact, coupled with great finesse in their control. Brightness, very realistic, is being adjusted with the same care. The HD transfer was fully supervised by the director this year, accompanied by John Toll, hard to blame him for anything. The guarantee of ending up with the vision intact Gibson dominates each plan of this edition light, beautifully textured, depth of field often sharp. The images show breathe and impactful than ever before, along with a dynamic and depth video signal that never really fades, can surprise the most seasoned. Bright, intense, deep and striking a natural, the images from this edition truly leave in the lurch, and often rave show integrity and expressive force.

DTS-HD Master Audio 5.1: English
French DTS 5.1 mi flow, Spanish and Italian
24 Bit, 48 Khz
OFFSET: n / a
BITRATE: 4072 Kbps measured.

We had discovered the film in the nineties during his laserdisc edition, which proposed a THX approved transfer, accompanied by an AC3 (Dolby Digital 5.1). In its time, this soundtrack is showing muscular, but suffered from very high level management issues and the global dynamics, which never reached to strike a balance between realism and expressive multi-channel effectiveness. Some platitude prevented this issue to rally support. Moreover, the character of the show deaf audio play much in his favor. This feeling of constraint (s), compromised, objectively identified, was also at work during the many DVD editions, which included the same 5.1 mix Oscar winner and was getting his own lack of enthusiasm, vigor retained its character deaf tempered and overly ...

We waited in that sense, this HD editing with unconcealed impatience, just to check if the virtues of the codec DTS-HD Master Audio 5.1, which restarts the master studio years to apply any compression, was finally able to prove and liberate the expressive power of this admittedly dated soundtrack (composed and mixed 3-4 years after the arrival of Dolby Digital and DTS processes, thus democratizing the operation of the 5.1 mix in theaters) but still strong enough to resist to convince. We have not been disappointed, so to speak, although some concerns are emerging. First, the emblematic music of James Horner seems to make the most of the relief offered by the DTS-HD codec. Beyond its readability and its symphonic melodies that have survived the ages, it was mixed by Shawn Murphy, leading expert in the integration of original soundtracks in the 5.1 mix since the late 80s. Still in charge of these mixes (it is currently to shine on the highly anticipated Tintin, scheduled for 2011), Mr Murphy has always managed to combine expressivity and spatial relevance, and we must recognize that his work on film Gibson made a lasting mark. The music is seen everywhere, spread carefully over the entire width of the frontal arc, rich stereo, full and creamy. She dresses the heart of the film, gives him his stature and power of conviction. Without really resonate as it should on the scene back, she lives in the front Triphonie with delight, and it will be from the first moment that it will be seen how the DTS-HD codec can work wonders: loose, deep , fleshy and very airy, the score by James Horner sees transcended. Largely on the more reactive spectrally, it sometimes falls low enough to the grave, and calibrates itself to the area with a beautiful medium power handling, which previously was definitely not as obvious. Breaths and orchestrations definitely win in scope and magnitude.

Otherwise, the film has a detailed record of all the ambient sounds, which benefit from a dynamic finally released, and at last laid bare. Their amplitude is richer, more flexible too, and all won the support of the entire film. The natural environments of the first part of the film, previously placed into the background and almost inaudible, are very much better highlighted, occupying the same scene back so textured, certainly, but still too quiet ... In addition to a fairly traditional management of the frontal arc, behind the scene rendered immersive ad hoc involvement in the set, but never really surprised by its relevance, and without asserting more than reason. During battle scenes, for example, the use of this expansion back will be very measured, or no mixing does not want to abuse an excess noise as can Gladiator. The natural environments, sufficiently detailed, dress the essence of the rear speakers (rain, wind ...), but its use will be more tenuous than expected. At the same, the shock of arms are being positioned and 'sized' on the front, by offering himself a spatial halftone along some of the listening space. Essentially stereo, the soundtrack is deployed on the three front speakers, without losing rigor or solidity. Where some impairments are felt when passing information loaded surround sound effects or, more surprised by their vivacity and depth of frequency response: the flaming arrows of the last fight, when they hit the ground, cause Indeed explosions and the formation of fireballs whose sound, modern and bright, appears to have been recorded yesterday, breaking with other elements in their sound duller and made immediate space.

The dialogues will always show clear, placed high enough. They seem to emerge with a wide dynamic range, which is in no way to disappoint us. This is due to the use of 24 bit resolution, which allow richer sonic detail as these arrows we mentioned just now, to receive an immediate expansion and resolution of a very acoustic dive net more widely and bubbly. Every element seems to come out of himself, in passing a recovering youth and vigor audible frankly, be they rich and detailed orchestral masses or the voices of the characters, who make plumb and in undeniably present.

The codec DTS-HD Master Audio also aerates the rendering, giving him greater readability, cutting the acoustic stage with a great rigor, and offering more natural textures. The French version, available in DTS 5.1 mi flow, is very disappointing: far behind in the rendering of the uncompressed track, she is thin, restraint, less penetrating, less slender, and simply reduces the overall effective rendering, who loses in texture and material. Lowest in terms of level, it more or less corresponds to what it had been possible to agree on DVD ... With his acoustic and solidified its sound stage further, the track DTS-HD Master Audio won the support of any line, to get back into the film under conditions which we call willingly unpublished, while preserving the character of multichannel mixes mid-90s, who were counting on the spatial legibility foremost. A technical success more to the credit of this edition HD decidedly more than highly recommended.

• The Audio Commentary by Mel Gibson
• The World of William Wallace (30 min). Picture in picture documentary on disc one, beautifully designed. Bottom frame, video information scrolls across Scotland yesterday and today, decorated with historical anecdotes or comments relevant to historians. Very pleasant to see in the accompanying audio commentary by the filmmaker.
• The Legend of William Wallace, the greatest hero of Scotland (32 minutes, HD)
• The writer's work (22 minutes, HD)
• "Alba Gu Brath! "The Making Of (58 min, SD, 4/3 and 16/9), which brings about the filmmaker and his editor (1995 and 1998). With a few stills and images from this shoot in Scotland and Ireland, this is a solid company, away from ambitious marketing. Gibson returns to the same relative disappointment at the box office the film was Aura, which has never joined the crowds around the world, in theaters, at least, before exploding video literally.
• Battlegrounds in 3D: all Anglo-Scottish battles remodeled in 3D and explained by historians
• The archive Interviews (14 minutes)
• Photo Gallery Shooting (6:30 minutes, with sound in Dolby Digital 2.0, SD upscalée)

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