"Friday 13" Blu-Ray Test (Express) "News" DTS-Phile | The acoustics in High Definition movies

"Friday 13" Blu-Ray Test (Express)

IMAGE

W Arner offers this classic in conditions which we consider favorable. Certainly, the lack of budget weighed on the overall result, but the images preserve the heart of this VC-1 encoding, an intelligibility intact, not without finesse. The grain structure of film recalls the filming of the seventies, made with this film not betrayed by this transfer colored, rich color range of the primaries, nicely saturated and resplendent from start to finish (the clothes of the protagonists during the daytime scenes outdoors as such are a feast for the eyes). Stable, evocative, deep, dense and mostly natural, the image presented here does not disappoint in any way, especially during the very last sequence, the most successful and most impressive footage. The sharpness of the image shows himself particularly flattering, as will be the case on virtually all of the film. The multiple sequences underexposed, set in the twilight or darkness are however quite a granularity up happier and pervasive, while contrast accuse major downturns, undoubtedly related to the production conditions of the time. Difficult, however, to criticize anything as such has not received a full restore, but still maintains strong positive features, which will delight fans. Sharpness and brightness meet dynamic present, and except for some scratches and tasks of the era, all charms you with its strength.

ITS

No DTS option on this issue, but a track English Dolby True HD 5.1, which constitutes the grand finale, a vision of her own objectively sound, healthy and fairly honest. The entire scene will be up front, even if the sound focus is only effective on its central channel. The music of legendary Manfredini strengthens all situations of terror by his abstract creations, sussurées, on which the musician returned from a very relevant in the documentary extra. She is wonderfully sound space and enjoys a dynamic and spectral clean striking, which encourages up the volume several decibels, thus highlighting the intrinsic properties of the codec lossless Dolby True HD, invisible to others portions of the film, but totally put to use during operation of the music. On this occasion, the six channels are involved in the construction of an architectural complex sound which suggests that only this partition has been remastered and retired from one point of view strictly dimensional and surround. Its frequency response is smooth and integrated across the entire spectrum, with particularly sharp and open directive. The rest of the plenum to the film crashes into the central channel, not without force, since the administered dose of dynamics is robust and vigorous for a work dating back over thirty years. The dialogues stand adequately and remain audible, with a pleasant frequency response. A set in half-tones, but very respectful of this singular work, complete with a remastered sound resizing would probably denatured ...