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

S YNOPSIS

Based on the true story of John Dillinger, a bank robber outstanding that struck many times in America for 30 years. Advanced as "public enemy number one" by the FBI boss, J. Edgar Hoover, Dillinger will be hunted relentlessly by Melvin Purvis, one of the most effective federal agents.

PRESS KIT

Public enemy No. 1 at the time of the creation of the FBI, John Dillinger was so marked that the Federal Bureau silhouette on which its members practice firing is his.

Public Enemies counted 114 different designs, in which it is possible one of 20 vehicles "stars", and from 1000 to 1500 cars "atmosphere" used.

To be as accurate as possible, Michael Mann has engaged the services of the FBI, to obtain such documents for Dillinger and other matters, as well as furniture and antique accessories.

For this film, Michael Mann has used two new HD cameras: "This allowed us to be very close to the actors' faces while working with long lenses," explains the director. "The viewer has the feeling to witness live on stage, lit realistically and usually filmed in two opposing axes simultaneously to capture close-up the protagonist and his cohorts. "

Scene of a violent confrontation between the band of John Dillinger and FBI agents, the Little Bohemia Lodge is now a restaurant. One change that has led the team to one of the most thorough work to restore its original look with a place that still bears traces of armed clashes that took place there: broken windows, walls riddled with bullets, at abandoned luggage forward by the gang ...

Also a musician, Johnny Depp has been instrumental in developing the Soundtrack and Public Enemies for Michael Mann has unearthed some treasures of the blues. Among his finds include Ten Million Slaves Otis Taylor, appearing in the trailers, has truly become the anthem of the film.

CODEC VIDEO: VC-1
1080p
FORMAT: 2.23:1
BITRATE: n / a
Universal, France, availability: 24 November 2009

Universal offers us a spectacular image quality, at every point clear and detailed. The film was shot using HD cameras, the filmmaker is one of his most loyal supporters, can not be faced with a disappointing result, these types of camera is naturally dedicated to restitution even in 1080p ... more . To the credit of this edition, very many positive elements can indeed be worn: a detailed picture at will (three close-ups retain all your attention as they breathe the HD and show a level of detail tetanizing of truth), an exhibition sculpts the ambient light and in all circumstances, adjusted color palette to situations, ranging from dull and bluish tones to other, more aggressive and ocher on their color temperature. The VC-1 encoding performs wonders, serving the lower transition, returning every stylistic changes and movements of a handheld camera with an unusual brilliance. Sensational, often, the picture proposed here flirting with the maximum of what is possible on Blu-Ray.

However, for many good reasons, you will be very likely to be deeply disappointed by what made it so distinctive, singular. Starting with the granularity inherent to shooting conditions and aesthetic choices (esthétisants?) Of the filmmaker and his cinematographer, Dante Spinotti. 75% of the film is bathed in a dark indeed for the persistent and shallower than just shooting in HD considerably to restore a manner consistent with acceptable aesthetic canons now. Noisy, trembling, fleeting, restless and somewhat pleasing to the eye (the point of generating lines on the display), the image fluctuates so embarrassing and offers a made faded, limp and without any outfit. There is no question of a default encoding or master, but the return of gross stripping of an artistic intention that bathes Mann's films in recent years. This rejection of external polishing, close to the nonsense, can indeed be conceived as a last resort technique for the return of the coldest objectivity sets and situations. A form of neo-naturalism technique that intrudes on so haunting and who, by force, has become a modus operandi typical intra-specific filming the filmmaker. These proposals writing / visual rendering will leave nobody indifferent ... In stark contrast, the scenes shot outdoors splash rendering by their degree of finish to the extreme: contour cut with a scalpel, dazzling brightness, and dynamic video arsonist. All stand as it is possible to see better on a screen, with a depth of field Dantesque, and vivacity displayed close to the anthology. Some backgrounds are being marred by the simplifications made, mostly legible in the exhibition, which gives the background to see pictures that seem to come from a digital camera which would be missing a serious array of pixels ...

DTS-HD Master Audio 5.1: English
French DTS 5.1 mi flow, Spanish and Italian
24 Bit, 48 Khz (Unaudited)
OFFSET: n / a
BITRATE: n / a

Before anything else, note the absence of offset (dialogue normalization), and the absence of réégalisation from the publisher. The 24 bit resolution are intact. The mixing of the film was in theaters, and French version, much of the success of the film. Many viewers were surprised by the richness and density of the soundtrack, the impact of countless shots. Particularly aggressive, the soundtrack was needed as a true exercise in style. We were naturally curious to discover the Blu-Ray, no compression applied, as close as possible to the studio master. The results surprised as always, but we ask from the outset, very large reserves ... No worries, for starters, at the frequency response: the spectral rendering shows himself open and detailed, never stuck in a party / static strap. Displacements of spectral rendering are very large, with acute open and expansive, detailed, and a very low register properly explored, even in the exploitation of music. As a whole, the film still sounds impinging detailed, and does suffer from almost any form of compression. The first reservation concerns the spatial rendering of dialogue: large fluctuations in level (volume and presence) were detected, which, over time, generates a feeling of noncompliance obvious. Some are clear, others totally suppressed or inaudible. These events take place from one moment to another, without warning. Is it a default master, or a style effect of roughness sticky chaotic images? The dialogues of the film does not constitute, in their depiction of such model. Narrow, thin and slender often, the voices of the protagonists do not occupy the center of the soundstage as we had hoped ... This is partly due to the almost systematic use of sounds synchronous (ie those captured on the set, rough around the edges, without restatement in the studio to maximize intelligibility). Again, all indications are that this is an artistic intention, that some will appreciate, even interpreting it as a form of requirement.

The spatial rendering of the soundtrack, meanwhile, surprised again. Mainly frontal, operation of the scene often seems lacking multichannel acoustic breaths, sounds hesitant to project the foreground, to the point of confining them to a virtual background, certainly audible, but that eventually generate a form of abstraction that contrasts with the clinical report and referred to realistic images. The original music, for its part, enjoys a superb orchestral stability, and a dense musical foundation, carefully textured, vibrant and heavy. The accompanying musical choices (different titles Blues, country or other) are in respect of them relegated to the background noise, so inelegant and very schematic. Few environments are being embedded in the flesh of the rear channels ... or even the facade, which seems a little stingy with spatial information, even if they remain on many real sequences. Again, there is a renunciation of value that seems to govern the development of sound architecture of the film. The shots, so dazzling to the movies, prove particularly successful here, evidence of careful design and incorporates designed from authentic records. However, and this is another serious subject, they resonate as the center channel, almost never grow or spread on the auxiliary lanes, confined, stifled, ossified in this centrality that is sure to surprise, in hands of ways. Each burst of machine gun or pistol triggers a sharp rise in the volume and dynamics of the center channel, while the other channels affadissant. On rare occasions, bullets ricochet all around the soundstage, and the shots are more broad in their report, not hesitating to invade the width of the stereo front. Few ricochets are audible on the rear, while two or three bullet holes are appearing heavy on a back channel, very localized and sensational. The memorable scene of shooting in the woods at night is an excellent example: the scene back to see relegated to the background, with the exception of three shotgun shots, absolutely sensational, that resonate throughout the listening space , attesting great values ​​spatialization, into the channel of subwoofers, and excellent headroom.

Otherwise, the sound quality is best shown in his report, but too timorrée in terms of depth and the volume of sounds. In ambitious of the principle of realism, the filmmaker seems he abandoned realism and environmentally sound, as was the case in previous productions. However, numerous gunfight scenes show an incendiary dynamic, vivid and noise impacts. Sound design applied not fail to put off and take some time to adapt. Far be it from us to talk about failure, but the refusal of spectacularization outrageous and ostentatious acoustics of the film will disappoint. For our part, we enjoyed this type of sound structure, this architecture rigorous, whatever may say or think, we will still be kept awake. Its systematization, throughout the two hours and eighteen of the film, is out, again, exercise style, and is as such that the film has to be savored.

Dynamic, often loyal, clean, aggressive, too, the soundtrack of the film suggests a high stability and lack any expressive impact and wide. The advantage of HD audio codec DTS-HD Master Audio is still audible in the integrity of sounds, their impact and stature. The French version, available in DTS 5.1 mi flow is however very close, but your ears the most agile of them will quickly detect traces of distortion and a certain lack of impact of drought, and vigor. A relative softness, audible on multiple shots, and much more violent flourished in DTS-HD Master Audio.

A soundtrack that he knows to be striking, but that must be understood in a singular way. You've been warned.

Presented in full HD:

• Making of
• "Opponents larger than life"
• Interviews with Johnny Depp and Christian Bale
• Documentary about legendary gangsters
• Audio commentary by Michael Mann
• "On the Trail of Dillinger"
• "Back on the scene real adventures of John Dillinger"
• "Technology Criminal"
• Documentary on cars and weapons of the film
• PIP U-Control provides access to images of the shooting, and track information on the chronology of events, coupled with historical anecdotes.

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