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

During a night patrol that went wrong, Simon and Julie, two simple peacekeepers, wounding a young executive who killed for no reason one of their teammates. Falsely accused of smudging and released by their superiors, they decide to prove their innocence by investigating the drug responsible for the sudden madness of their abusers.

Available on Blu-Ray for a few weeks at Gaumont, Guardians of the Order, the film by Nicolas Boukhrief is not exactly a blockbuster, but has enough aggressiveness on land audio and video to convince. Explanations. Présenté par Gaumont Vidéo, éditeur Français dont on ne cesse de louer la qualité des publications HD, le film n'échappe pas en effet à la politique éditoriale du studio, qui livre, régulièrement, des éditions Blu-Ray de haut vol. The master image has a dive and incendiary, and, most importantly, develops a sharpness and visual density, very silver, which command respect, and release the whole dynamic of the filmmaker's singular style of conveyor. Occupying slightly more than 21 GB disk, the film is thus encoded subtly and effectively, even if our measurements (we are now equipped with the following Christmas) reveal a master inevitably provided a gamut SMPTE-C type (American standard that some may deem too common, and very subtle in terms of color rendering). In addition, the AVC High Profile 4.1 From the analysis, and ensures the accuracy of the image of the devil, even if the encoding was done in 8 bit, where the encoders (most recent, but still incompatible with our current hardware, since they require more disk space ...) are capable of 12.

The soundtrack of the film is available in DTS-HD Master Audio 5.1 and 2.0. The encoding was done in 16 bit only, away from 24 which evidenced on most Blu-ray titles of the moment, probably in order to preserve the disk space (this is a BD -25 GB). Audio bitrate averaged 1828 Kbps, relatively low, you may have noticed, but this is due to the depth of encoding, performed, therefore, under 16 bit .... Here are the steps, now we will include in our reviews:

Mixing was done by Lucien Balibar , we know well to have friends in common, assisted by Nicolas Becker . Two big names sound French. The second, in particular, has been the source of sound creations exceptional Silent Hill (see our review), Christophe Gans, while the former has touhours worked alongside our friend Alexandre Widmer, over very many productions. The sound aspect of Guardians of the Order, if it shows little open on the back cover, full of subtlety, providing an excellent acoustic deductible, sounding harsh and realistic, meticulously and accurately restored by this track DTS-HD Master Audio 5.1. Dense and pitted, the front panel displays a surprisingly natural, evolving around the central channel. The dynamics proves too realistic and bubbly, a very good high signal to noise ratio, which translates, to listen, for perfect sound lively and generous, never crushed or compressed. Il en ressort des nappes sonores réalistes, naturellement ouvertes, et qui restituent l'acoustique des lieux avec chaleur et dynamisme, fidélité et transparence. Un rendu qui n'a pas manqué de nous séduire, servant le film de manière optimale, et couvrant acoustiquement toute l'évolution de cette sombre affaire contemporaine, menant deux personnages aux confins de leur humanité.

In this Dec. 25, the entire team of DTS-phile sends his best wishes for celebration, and wish you a Happy Christmas 2010, High Resolution. We wanted to thank you again for your loyalty, although lately, the site was not known to frequent updates. Everything should quickly return to normal, with projects in mind. Hoping your New Year's Eve has been a pressing too shimmery Blu-Ray high-end, and that December 25th will resonate as loudly as soundtrack DTS-HD encoded as 24 bit and 192 kHz.

See you soon on the site.

You have decided to offer one or more titles on Blu-Ray for Christmas? But the choice is difficult ... So, how artistic and technical performance? No worries, even at the last minute, here are some suggestions to help you ensure at all levels, and to make people happy.

The TV series edited by Blu-Ray, if they have unfortunately not all the same care, can enjoy a performance lying on a dozen episodes. Two of them, published in 2010, clearly falls outside the lot, and stand on all fronts. True Blood, currently available in two seasons, the third being planned in the coming months on Blu-Ray, and The Pacific is daunting indeed show technically, very happily beyond the technical reports of other productions tougher, cinématoghraphiques, and which prove ultimately disappointing .... oh Here's a quick overview of the acoustic characteristics of these two monumental series, which succeed to fill our expectations, without exception, not the bulk of them.

TRUE BLOOD, seasons 1 and 2

Warner, 2010, five Blu-ray in each box.
VO in DTS-HD Master Audio 5.1 (24 Bit), VF DTS 5.1 Full-Flow (1509.75 kbps)

Each season has an acoustic cover of first choice, and all these two seasons is seen dramatically enhanced by the contributions of uncompressed digital audio. More talkative than action-packed, yet excels at True Blood ciseller acoustic spaces of tremendous relevance: backgrounds searched and detailed soundstage wide and mobile, detailed and penetrating every nook narrative of these ten episodes (two times ) finds its equivalent in an exceptionally natural sound, smooth and detailed. Rendering lacks any voice of eloquence: tall and impeccably "stamped" in the original, they offer the features of the Southern accent of the United States with an unparalleled vehemence. The overall dynamic is full of power, and when seeking sequences expressiveness maximum 5.1 surround sound, the entire soundstage shows a spatial and a spatial clarity that leave, simply, on the tile. Whirling sound effects, ambiences extensive, serious and deep hairline, short, exciting results.

No need to wait to realize: the succeeding seven minutes at the beginning of episode one of season one can already immerse themselves in the sound world of this series miracle. The main character is endowed with a faculty enabling him to hear the thoughts of his surroundings, each manifestation of this power will be accompanied by an amplification of these localized voice on all channels, with the same penetrating quality and circularity of voice in space which literally gives the turnstiles. fluidity and mobility of sounds impeccable show, attesting to work editing and mixing sound inspired and thought, that the codec DTS-HD Master Audio can sublimate at any point, giving it a smoothness and a generosity that transcends the notion of acoustic generosity. These moments will show prolonged eloquent and extremely persuasive, whirling from one channel to another with breathtaking virtuosity and transparency.

It will be the same environments (forest, bars, ...), which exude a sense of spatial definition also very successful, maintaining the characteristic transparency and clarity, spun on the entire series. Add to that a detailed master picture and extremely loyal, and you get two seasons rich and varied, technical competence rare (we stress), bathed in a warm light years from Twilight and visions of traditional vampires. The series, created by Alan Bates, imspiré writer of American Beauty, devours through and through, and can be enjoyed in High Definition technicality that actually owns its importance, in terms of visual features and audio / acoustic.

THE PACIFIC

Warner Bros., Zone B, available in a metal case.
VO in DTS-HD Master Audio 5.1, DTS 5.1 VF Full-Flow.

Another series designed by HBO, produced by Tom Hanks and Steven Spielberg, The Pacific Series also offers a set of technical values ​​that place above many other productions. Without constituting a slaughter of war scenes strung together, the series looks at the evolution of physical and psychological characters carved in the earthy mass of World War II Pacific side, focusing on personal stories, morals and their value in combat. Field technique, luxurious cete series is seen adorned with assets just as luxurious. The image to begin to show silver as hell, offering visual carved with a scalpel, a rich and colorimetry just perfectly calibrated. But the biggest surprise comes from the soundtrack, available in DTS-HD Master Audio 5.1, which peaked almost absolute success and belief combined. Powerfully expressive, the soundtrack of the series shows musically perfect ( the soundtrack is by Hans Zimmer), and literally roared at sequences of war, providing opportunities that sound too memorable performance. For many readers and writers, this is the best track DTS-HD Master Audio offered this year , as its rendering 5.1 multichannel atteient a form of apotheosis technical, richly textured, spatial carefully, and who can demonstrate the relevance of so formidable (frequency and technical) of uncompressed digital audio codec. No faux pas, for results that often exceed almost understanding.

The publisher has just given us his release dates for early 2011. Two titles, one more to come, are already asleep and Gabinohome:

The film will be available in DTS-HD Master Audio 5.1 (probably under 16 Bit) on VO and VF, and propose the following supplements:

- Behind the scenes of the film (16 minutes)
– Bandes-annonces
- Copie Numérique du film à télécharger
– La VF en Audio-3D (optimisée pour une écoute casque)

Deuxième titre, Le Silence des Ombres , mettant en scène Julianne Moore, verra aussi le jour en février prochain (le 8). Mêmes caractéristiques techniques, et une gamme de suppléments analogue là aussi, proposant:

- Dans les coulisses du film (16 minutes environ)
– Bandes-annonces
- Copie Numérique du film à télécharger
– La VF en Audio-3D (optimisée pour une écoute casque)

A signaler: l'éditeur s'ouvre désormais à la « copie numérique », offrant cette prestation en téléchargement.

The year 2010 draws to a close, the time has come to balance. In this regard, we invite you to participate in a survey conducted on the site, to determine your / your title (s) preferred. To enter, please leave a comment at the bottom of this page, indicating your favorite (or maybe several). A title for the personable qualities of video, and a title for sound performances (artistic and technical). We will arrange to collect your suggestions, and proceed to the final ranking of the ten Blu-ray titles that you seemed to fill to 100% the specification of the High Definition picture and sound. On your keyboard ...

L'oeuvre de Spielberg, AI , vient d'être annoncé dans une édition Blu-Ray zone A, prévue le 15 février prochain. Dreamworks, distribué par Paramount, proposera le film dans un transfert 1080p, en 1.78, et pourvu d'une piste son encodée en DTS-HD Master Audio 5.1. Très attendue, cette édition sera aussi l'occasion de redécouvrir le sound design ainsi que le mixage exceptionnels concoctés par Gary Rydstrom. Précision digne d'intérêt: le disque sera lisible en zone B.

The program supplements, the publisher will offer new features, but also content already included on the DVD editions:

• Creating AI
• Acting AI
• Designing AI
• Lighting AI
• AI / FX
• The Robots of AI
• Special Visual Effects and Animation: ILM
• The Sound of Music and AI
• Closing: Steven Spielberg: Our Responsibility to Artificial Intelligence
• Two theatrical trailers (in HD)
• AI Archives

Our colleagues from Blu-Ray.com just published a complete chronicle about the release on Blu-Ray of a recording of the last concert of Sting, accompanied by the Royal Philharmonic Concert Orchestra. This disc offers the concert in a transfer in 1080i high-quality, but has above a soundtrack available as DTS-HD Master Audio 5.1, encoded at 24 bit and 96 Khz. A real audiophile register here unfolds as, regularly, audio bitrate exceeds 10 Mbps, which is extremely rare. Lasting two hours and five minutes, this disc is available for Decca in zone A. According to our colleagues, the disc would be readable in Zone B. We will be sure to confirm. Orders are already possible and sleep on the Amazon.com site for example.

Tracklist of the concert is available on the publisher's website at this address .

We just received a press release from our partner almost a decade, the online auction site www.cinebox.net North American, based in Montreal. After many long years of loyal service, since the days of gold DVD format, the site has decided to cease operations, which, for many visitors, sounds like a shock. Historically, Cinebox has been one of the very first sites to market region 1 DVDs and ship them to France, all complemented by a French-speaking customer service, appreciated by many buyers. Here are the reasons given by our partner:

Some of you have noticed that our site has not been operational since Wednesday, November 17, 2010. Recently, there was a rapid process of concentration and fierce in our industry.

Distribution has become a monopoly. It is extremely difficult to operate in this new context, despite our very good management. It is with regret that we did not have no choice but to cease the activity. Any team Cinebox warmly thank you for your loyalty and trust over the years.

We, however, already identified an alternative for you so you can continue to purchase your dvd and blu-ray from North America. Indeed, we have a very long time partner who is preparing to welcome you. By ten days, it should be ready.

We will give you the address of its website shortly and we are confident he will offer you a quality service that meets your expectations. His team is serious, effective and close to its customers. No doubt the product catalog will be to develop but with your encouragement and suggestions, you should get great satisfaction.

Thank you all! Cinebox team!

A whole team, we wish good luck for the future and possible new projects.

SYNOPSIS

Quatre anciens membres de l'armée américaine, des vétérans de la Guerre en irak, tentent de blanchir leurs noms auprès de celle-ci, qui les suspecte d'avoir commis un crime. L' équipe compte bien prouver son innocence.

DOSSIER DE PRESSE

Dans l'une des bandes-annonces, il est possible de voir Barracuda (Quinton 'Rampage' Jackson) siffloter le célèbre thème de la série. Sauf que dans le film, l'air qu'il entonne est complètement différent…

Au début du film, lorsque les héros arrivent à l'Hôpital pour Vétérans de Guerre, Hannibal (Liam Neeson) engage la discussion avec un homme qui n'est autre que le réalisateur Joe Carnahan, qui était déjà apparu de la même façon dans Mi$e à prix (2007).

L'acteur Henry Czerny, qui joue ici l'un des supérieurs de Lynch (Patrick Wilson), n'est pas un novice en matière d'adaptation de série télévisée, puisqu'il figurait déjà au casting de Mission : Impossible .

The A is the adaptation of the popular American series eponymous 1980s, created by Frank Lupo and Stephen J. Cannell. This program includes 97 episodes of 47 minutes, and was broadcast in the U.S. between 1983 and 1987.

Joe Carnahan emphasizes its desire to make his film much darker than the series. For this, he sought that this new story is in phase with the current political context. However, the director explains still have wanted to preserve the dynamic aspect unique to The A-Team on television: "The project was coveted, and adapt a series that I loved as a kid was hard to refuse. We are very loyal to the series out of respect for generations of fans who grew up with it, but we also wanted to make it into the next century, "he says.

As often in such major productions, many famous actors have been approached to play a particular role. This is the case of Bruce Willis, who was to lend his features to John "Hannibal" Smith, eventually starring Liam Neeson. The actors and rappers Ice Cube, Common and The Game have all three been competing for playing the character of Barracuda, attributed to Quinton 'Rampage' Jackson, a martial artist. Finally for Murdock (Sharlto Copley), Woody Harrelson and Ryan Reynolds have been considered. As for making the film, it should first be given to John Singleton (Shaft in 2000, 2 Fast 2 Furious in 2003, etc..).

VIDEO CODEC: AVC
1080p
FORMAT: 2.35:1
Fox (France), disponibilité: 29 octobre 2010

Overall, the picture proposed here has made very well is appealing across the board: breezy color temperature, calibration finely adjusted, enhanced by the video codec AVC, sharp definition, strong contrasts and fulfilled .... etc. The rendering is shown cinégénique as hell, and can immerse themselves in this film by Joe Carnahan, who starts out almost too sweet, before proposing a luxury set and all situations more different from each other, with, each time, a visual presence made a very clean and seamless fluidity. From start to finish, finesse won, and the color choice, cleverly saturated and warm tones to do almost more power, showcasing a world by turns farcical and full of dust and debris. A real demonstration of officiating with rage and fury and arises as a product rated for high definition equipment, devoid of any artifacts and ignoring the limits compressive.

DTS-HD Master Audio 5.1 : Anglais. Français, talien etc… sont proposés en DTS 5.1 (754.75 Kbps)
24 Bit, 48 Khz
OFFSET : aucun

After an opening (the first three quarter of an hour) certainly successful, but somewhat subdued (rear secondary presence, soundstage lacking width and fulfillment), the rest of the film with a brilliantly officiates quite remarkable , with a special mention for the last part, which offers absolutely serious descents in the stunning. Work requires action, Joe Carnahan's film offers a soundstage mobile and restless, but seems to focus more on the clarity of the audio message on the bluff sound radical. During action sequences, all channels beats the pace, responding to multiple requests required by the situations, but does not open for much exaggerated in the fields behind, which seems almost under-exploited in the sequences "iconic". In return, (technical or artistic?), We see massive lift of the dynamic range, and we get a set of sonic detail before actually striking. The entire film has that effect sound great detail, who are presented with crystal clarity and crispness of sound that, overall, make all the difference. The non-compression seems more readable in the sequences quieter, while the sequences appear more fragmented in mounting a furious momentum to the frequency response chopped (aerial hunting) is particularly open to midrange and treble areas.

While not disappoint, it is surprising to note that the show is not located on the back or das areas usually seen as spectacular, but rather in the show itself, in the middle of the stage front , which reacts with agility and finesse dithyrambic significant. Dynamic and powerful open when the action required, this soundtrack is surprising in many ways, so focused and carefully studied: shots that ricochet rigorously supported explosions and detailed by the LFE channel (final scene of containers, a real treat), travel gear realism almost surreal .... Energy and power are undeniably part of, but always surprising to note that the first hour has a business back less than on the first half hour of the recent Blu-Ray edition of Back to the Future, yet presented by the Online press as very stingy on that side .... No matter: the realism of the soundstage and countless shots of brilliance, as well as its muscular energy and devastating sequences of many well know make a difference. The audio-viewing will leave the viewer satisfied and filled.

• Long version of the film (15 minutes more)
• In action with Joe Carnahan (about 2 hours): PiP at movie playback.
• Deleted scenes (9M05)
• Bloopers (7m20)
• Theme music for the movie (1 minute 36): all the passages of the film in which you can hear an excerpt of the famous theme music came together to give a generic video clip of this cult.
• Plan of Attack (28:35)
• Chronic character (23:10)
• Visual Effects (6:10)
• Trailer (Dolby Digital 5.1)

Nestled in a brief press release, a short line states: Wild Side is delighted to confirm that PIRANHA 3D, Alexandre Aja, sea edited February 23, 2011, on DVD, DVD Collector, Blu-ray and Blu-ray 3D in our area B.

Pour l'un des très belles sorties Wild Side de l'année prochaine, ces 4 éditions bénéficieront notamment de l'implication et de la collaboration du réalisateur du film, incluant du contenu inédit et exclusif à la France. Pour le moment, rien n'a filtré, mais l'on peut dors et déjà ajouter que le film sera présenté en DTS-HD Master Audio 5.1 en VO (et sans doutes VF ?). Les suppléments devraient différer d ceux de l'édition zone A (sortie prévue en janvier prochain), qui, pour leur part, proposeront un commentaire audio du cinéaste, cinq featurettes ainsi qu'encore cinq autres (exclusivité Blu-Ray), la bande-annonce du film en 3D, des extraits de storyboards, des spots TV. Le zone A proposera le film en 2D et 3D, dans deux éditions séparées.

Rendez-vous est pris !

New way to integrate the splendid collection "Diamond" at Disney, Alice in Wonderland is under extensive restoration in order to appear on Blu-Ray on February 1 next, in zone A. The program includes a complete restoration (and the publisher has never disappointed us on this point) images, which will be presented in 1080p, and an English audio track encoded in DTS-HD Master Audio 7.1. The film will be presented on the first disc (BD-50), the supplements on the second (also BD-50), and a DVD of the film will also be attached. Editing Zone B will follow, logically a few months later, unless either of weeks.

To the latest news, and no official confirmation, supplements offer:

• Operation Wonderland (HD 1080p, time unknown)
• "I'm Odd" newly discovered Cheshire Cat song and intro
• Thru the Mirror Mickey Mouse animated shorts (in HD)
• One Hour in Wonderland
• An Alice Comedy: Alice's Wonderland
• Original theatrical trailers (1951 & 1974)
• Through the Keyhole: A Companion Guide To Wonderland
• View Disney: Watch the movie in this expanded viewing experience with new Disney art in the wings of the screen
• Painting the Roses Red game: Help paint the roses red in the Queen's garden. Careful, gold Someone Could Lose Their head!
• Walt Disney color TV introduction (1959): A never-before-seen color TV intro by Walt
• Reference Footage: Alice and the Doorknob: Kathryn Beaumont Provides an introduction to this newly discovered reference footage of Alice talking to the doorknob
• Pencil Test: Alice Shrinks: Kathryn Beaumont launch of new a newly discovered pencil test of Alice shrinking
• Reflections on Alice

Being absolutely amazed by the interactivity offered by the publisher usually on its published titles in Blu-Ray, and his incredible wealth, we can only rejoice at this new release. Each edition "Diamond" has a qualifiable extreme care, even in the animated navigation menus. The additional content also show their interest never secondary, and some segments of documentaries Beauty and the Beast to name the title is, by far, what we could find / see the best in terms of supplements this year. The quality of original images of these documentaries restored, as well as the finesse of rendering 1080p black and white photos carefully scanned in high resolution can rediscover completely the concept of "supplement", and invites them to let go and bring the pleasure of discovery. Finally, supplements the most voracious in terms of storage are always placed on a second disk (50 GB BR), not to mention the presence of a DVD movie for younger children or children for travel. Also note: the presence of a mode "Family" and "fast play" which, following the first reading and the following, totally zap legislation and trailers at the start of playback. Mode "family" to set a timing so that children can enjoy the show for a time limit established by the parents.

The last part (so far) of the saga inspired by the classic video game has just been given a release date on Blu-Ray region A, the publisher Sony Home Entertainment. Thus, it will be on December 28 that the next film will be available in 2D, but 3D (separate editions). This title should be a standard bearer in terms of 3D for the publisher. The cameras "Fusion" developed by James Cameron (and already at work on Avatar) have indeed been used for a shooting native 3D. For many, this title was, in theaters, one of the most promising movies and convincing in terms of three-dimensional rendering. Sony will offer the film in 1080p format then 1.78 (requires 3D), first it will be accompanied by a soundtrack encoded in DTS-HD Master Audio 5.1 (English and Brazilian on the 2D version and English version only 3D ). The following supplements provided:

• Wallpaper dedicated to the film for the PS3
• movieIQ ™ + sync and BD-Live connect you to real-time information on the cast, music, trivia and more while watching the movie.
• Undead Vision: Picture-in-Picture
• Audio commentary from director
• Deleted & Extended Scenes
• Outtakes
• Back Under the Umbrella: Directing Afterlife
• Band of Survivors: Casting Afterlife
• Undead Dimension: Resident Evil in 3D
• Fighting Back: The Action of Afterlife
• Vision of the Apocalypse: The Design of Afterlife
• New Blood: The Undead of Afterlife
• Pwning the Undead: Gamers of the Afterlife

Note: like all Sony branded editions, this disc will be readable in all logic in Zone B, the publisher has rights to operate worldwide.

So we publish today the first review of an episode of the Alien saga, recently (even very recently) available for sale boxed anthology. Rather than turning in a first step towards the first two games, which everyone talks about on the canvas, and, indeed, mobilize more attention, we preferred to start the ball rolling by offering the full review the third installment, directed by David Fincher. The results, as you realize, do not disappoint in any way, but with some reservations (already known) regarding the presence of images, which have not received the same complete recovery than the first two components of the saga. Indeed, only the first two titles are being THX certified. The original film, Alien (Ridley Scott) has granted him a 4K restoration. It does nothing of the same for the third installment chronicled here. But overall, the wire can be aware of the exceptional quality that often is required on this saga, which supplements (see on our "reserve" in the article) were designed by Charles de Lauzirika and its teams.

Our column is available here.

SYNOPSIS

For decades, was a planet Fiorina 161 prison where hardened convicts and melted the ore mined on behalf of the all-powerful company. About twenty prisoners still live there, under the command of Andrews and Dillon, founder of a religion advocating chastity. It is in this desolate place that the capsule of Ripley comes crashing down. Clemens treated by the physician of the colony, she believes the only survivor of the crew, when a series of violent deaths made ​​him understand that the Alien has also landed and again to crack. Faced with mistrust and misogyny of detainees (even going so far attempted rape), she organized the fight. No weapon that exists on the planet, the only way is to draw the Alien in a cul-de-sac and make him fall into a vat of molten metal. Meanwhile, the monster continues to claim lives: Clemens, main ally - and lover - of Ripley, and Andrews, that replaces Aaron. After many prisoners were also killed, the sacrifice of Dillon can finally get rid of the Alien. But Ripley realized with horror that she was made ​​pregnant without her knowledge and she is carrying a future laying queen. Alerted by Aaron, members of the Company present, determined to save this precious Alien specimen.

CRITICAL

Un troisième volet haut en couleurs, spectaculaire et profondément pessimiste, né d'un processus créatif extrêmement chaotique et douloureux. Film maudit, détesté, anéanti avant la fin même de son tournage, la première réalisation de Fincher a tout d'un martur de cinéma qui avec le temps, semble se bonifier, et apaise de lui-même les tensions de sa genèse. Production colossale mais maîtrisée avec soin, son film n'a jamais été incarné comme Fincher le souhaitait. Accouché dans la douleur, le film n'a jamais rencontré son public outre-Atlantique, mais a bénéficié d'un accueil très favorable dans le reste du monde où il fut exploité de longues semaines durant. En outre, Fincher n'a jamais pu tourner Alien 3 avec une version définitive du script: celui-ci fut réécrit, recomposé et restructuré en permanence. Cette architecture narrative fragile n'est pour autant absolumlent pas visible ou décelable lors de la vision du film, mais représenta une véritable épreuve de force lors du tournage, où l'essentiel du quotidien fut avant tout orienté vers des phases de réécriture, avant que quelque scène ou séquence ne soit tournée. Pire encore, si le film reflète l'univers du Fincher à venir (Fight Club, etc), le cinéaste ne fut même pas convié au montage… Au final, le film évolue de lui-même, de manière presque organique. Il emprunte certes un parcours psychlogique des plus classiques et convenu, mais sa structure se rapproche davantage de celles des mythes: un glissement ers la déchéance, la décrépitude, l'abnégation, l'agonie, la tragédie, à l'image de son dénouement, plus dense encore dans cette version car elle supprime ce plan ridicule où le foetus de l'Alien faisait éclater le ventre de Ripley dans la version cinéma.

PRESS KIT

Les anecdotes autour du film sont légion, et pour cause: rien ne semblait se profiler de manière naturelle, et chaque acte de création obéissait avant tout à une perspective nouvelle de production. Onéreux et douloureux, Alien 3 fut, en dépit de toutes ses qualités (et il est très nettement plus réussi que le quatrième opus), un échec cuisant qui vit son metteur en scène s'effacer de sa création, pourtant sotenu et porté par une Sigourney Weaver enthousiaste et sereine. A l'origine, Ripley ne devait pas figurer dans ce troisième épisode, mais réapparaître à nouveau dans un quatrième. Toutefois, près de six ans s'étant- écoulés depuis Aliens, Sigourney Weaver accepta d'être partie prenante, à la fois comme actrice et comme co-productrice. Elle obtint un salaire de 4 millions de dollars, en partie, expliqua-t-elle, « (…)pour avoir été obligée de se raser le crane ».

David Fincher (28 years) had previously filmed as commercials, music videos and a few shots of RETURN OF THE JEDI. First estimated at 40 million, the budget finally reached 60 million. Fincher wanted the scenario to be built in five acts, corresponding to Ripley to the five stages of dying as defined by the psychologist Elisabeth Kuebler-Ross: denial, anger, bargaining, depression and finally the acceptance. [Partial source: monsieurcinema.co m].

VIDEO CODEC: AVC
1080p
FORMAT: 2.35:1
Fox (France et autres régions du monde), disponibilité: 27 octobre 2010 (zone A, B, C)

Progress in terms of encoding being what they are now, we are left with a sufficiently piqued, light, and provides values ​​contrates significantly higher than the first version of the film on DVD (2003). Uniformly ocher tones (but which vary from warm to cold in terms of color temperature) are reproduced here with a very nice degree of color saturation that, combined with the deepest blacks, reveal a unique visual world and highly stylized . On the front of negative news, we noticed some very slight tremor of the image, and sometimes (some would say often) significant declines of holding the image, in terms of definition and clarity, andpitch necessarily in smoky scenes, as was the case on the DVD edition. Subtle photography by Alex Thomson, who took over the project following the withdrawal of his previous colleague is quite respected, and pressing HD, THX certified not unlike the first two games of the box, reaches back to light with very often striking results. The characters emerge from darkness to light, and the figures are carved in the mist. Even when the action is racing or that the decorations are meant little about the strong lighting (for proof, that great play of a huge tunnel lit by candles), encoding fraying and never displayed the same stability and a content, an intensity that was lacking in previous occurrences of the film on video. This remastering light, or rather re-encoding HD, is itself a very good effort to preserve the visual integrity of the film Fincher, and outdoes the previous DVD edition. Recall that this film has cursed not receive the same care as the first two games of the saga. Some shots of the long version (29 additional minutes) are showing very high standard, in line with what is visible on first two films, but others show a weak overall sharpness, providing smooth images, softened, textures slightly marked, and particularly disappointing. Eyes least relevant will even make the difference in seconds ....

DTS-HD Master Audio 5.1 : Anglais. Français, talien etc… sont proposés en DTS 5.1 (754.75 Kbps)
24 Bit, 48 Khz
OFFSET : aucun

The soundtrack of this third album has always received care in scope and it is with delight that we find a soundtrack definitely very dynamic and optimized on the ultimate edition. En effet, le travail et le design de cet opus est de loin l'un des plus convaincant de la série, avec une maximisation permanente de la scène sonore qui ne s'effondre jamais sur les voies avant et qui n'a de cesse d'ouvrir ses perspectives créatives et ambiophoniques. L'exploitation du paysage sonore est permanente , rigoureuse et vigoureuse, et se voit rehaussée par un excellent rapport signal sur bruit. Nous apprenons, dans les suppléments consacrés à la phase de post-production, que les sound designers et les monteurs son ont eu recours à un nombre de bruitages plutôt conséquent afin de déstabiliser psychologiquement les spectateurs, et c'est avec un grand plaisir que nous pouvons vérifier tout ceci dans ce mixage 5.1, ici encodé en son numérique non compressé, où l'intégration des éléments sonore se révèle tout simplement proche d'une certaine image de la perfection. Les sons, au pouvoir de recouvrement élevé et très convaincant sont tout à la fois fugaces et de haute qualité, et l'ensemble respire d'une belle technicité. Précise et radicale, la prise de son est de haute volée, au point que l'opération créative réalisée lors du mixage ne peut qu'enjoliver un ensemble placé sous le signe de la qualité et de la pertinence. Mais il ya bien mieux que cela: le film évolue par phase, à l'image de la bande-son. Suite à un générique qui joue l'économie mais n'oublie jamais de mettre en place une scène sonore créative et furieuse, le film évolue vers la création d'un authentique paysage sonique au fur et à mesure que le spectateur découvre la prison et tous les détails de son univers carcéral. Ce générique fait exister votre voie centrale, et consiste en une succession de musique symphonique comprenant de nombreux chœurs entrecoupée de bruitages secs, tranchants et viscéraux matérialisant le choc à l'intérieur de la navette et son éjection vers Fiorina 161. De surcroît, l'intégralité de la bande-son brille par sa façade formelle et ses qualités d'exécution. Les habituels éléments techniques (diaphonie, dynamique, séparation des canaux, réponse etc…) affichent eux aussi de très belles valeurs, transformant chaque instant de cette bande-son en un plaisir d'écoute coupable, mais hautement performant. Il suffit, pour s'en convaincre, d'écouter certaines séquences situées dans l'infirmerie et de découvrir la richesse des ambiances placées sur la scène arrière. Lors de la seconde partie du film, la bande-son recrée à merveille les diverses sensations de cloisonnement en mettant littéralement en scène et sur tous les canaux la course poursuite apocalyptique entre la créature et les prisonniers jusqu'au final quasi-christique.

Elliott Goldenthal, le compositeur, nous révèle dans les suppléments son utilisation d'une musique atonale, qui oscille entre musique orchestrale et effets sonores rendus par l'emploi d'instruments aux sonorités incongrues. Il se dégage ainsi de cette bande-son une énergie acoustique certaine, bâtie sur des notes sonore discordantes procurées par la musique et soutenue par une ligne mélodique d'une ample générosité lors des moments clé. Durant les séquences d'action, la scène sonore jouit d'une stabilité incroyable (le film date de 1992) et d'un pouvoir d'évocation foudroyant. A ce titre, le vent et la circulation de l'air dans la base sont omniprésents et finissent par générer un environnement acoustique pénétrant et des plus immersif, que le codec DTS HD Master Audio permet de densifier et d'étoffer, tout en réduisant le champ pourtant ouvert des distorsions. Le gain en finesse et en poids se montre alors des plus massifs: il augmente le volume de la spatialisation tout en rehaussant le réalisme des nappes sonores qui composent l'arrière-plan acoustique de cette bande-son. Les voix sont captées avec un soin extrême (une fois de plus, pour l'époque), mais l'on notera des fléchissements là aussi du à l'intégration de certains sons captés lors du tournages ( production sounds) et d'autres en post-production, mais aussi lors de nouveaux passages de la version spéciale. A certains moments, les dialogues sont inaudibles, alors qu'ils sont éclatants de vitalité acoustique à 95% du temps. Mais le son reste nourri, riche, opulent et présente de grandes qualités spatiales, jusque dans le placement des voix dans l'espace, où les coordonnées sonores sont clairement lisibles dans l'espace, de manière holographique. Les rugissements de la créature en voie centrale sont bien souvent extrêmement impressionnants et utilisent une gamme dynamique très cossue. La musique et sa disposition spatiale, faite de clarté et d'une très belle utilisation de toutes les voies, est enregistrée avec soin et intégrée aux petits oignons. De temps à autres, un détail sonore frappant, comme cette goutte d'eau qui tombe du plafond dans une scène furieuse, vient s'inviter à la fête, caractérisant un espace sonore d'une très belle vitalité. Nous ne pouvons que recommander cette bande-son à quiconque vient de changer ses enceintes: elle constituera, à sa façon, un test très réussi pour se rendre compte de la cohérence entre ses diffuseurs, tant elle sait bâtir un espace sonore très net, architecturé avec un soin extrême, dans lequel les masses sonores se déploient de manière très large et très mobile. Le codec DTS-HD Master Audio parvient parfois à réaliser de véritables miracles de présence et de profondeur naturelle, proposant un rendu spatial physiologique et d'une netteté réellement stupéfiante en de fort nombreuses occasions. A nouveau, son apport permet de profiter au mieux de chaque micro-détail du mixage, tout en rendant plus évidente l'intention de spatialisation, sans le moindre compromis. Jugez plutôt: sur l'édition DVD zone 2 (Japonaise, qui e avait l'exclusivité), le bitrate (taux de transfert de données) de la piste DTS mesurait 754.75 Kbps, et le fichier son de cette piste mi débit atteignait 799 Mo. Sur cette édition, la piste DTS-HD Master Audio 5.1 obtient un bitrate moyen de 4.1 Mbps (4100 Kbps) avec des pointes au delà des 7 Mbps, présenté sous 24 Bit et 48 Khz… .

Pour conclure, on avancera que finesse et profondeur achèvent de composer un rendu de très haut niveau, riche de sonorités mobiles, créatives et viscéralement palpables. Il en est de même pour ce qui est de la dynamique: en DTS-HD, lors de ces attaques où les chocs s'étagent dans la bande-son, le moindre écho (net et tranchant) se voit propagé dans l'espace sonore de cet univers de métal et de ciment. Hautement convaincant.

Once past the relative disappointment of discovering access menus almost identical to those presented on DVD seven years back, and the number of shooting pictures and documentary segments presented in SD quality almost execrable (but hardly 'restorable') This box is full of details. but to have sold (and advertised) as a veritable anthology like video editing and the most comprehensive ever, anyone with the DVD experience a certain feeling of deja vu ... The last disc is meant to copy and paste supplements already existing, and the disc five, yet comprehensive, does not particularly unusual revelations ... Its duration, however, announced as mass does not exceed three hours (approximately of course) of new content by film. Difficult, however, be choosy, as all shows are rich, but there there was no "push" when enlarged mercantile announcements of the publication of this box?

• 1992 Theatrical Version (movie version)
• 2003 Special Edition (Restored workprint version)
• Audio Commentary by Cinematographer Alex Thomson, BSC, Editor Terry Rawlings, Alien Effects Designers Alec Gillis and Tom Woodruff Jr., Visual Effects Producer Richard Edlund, ASC, Actors Paul McGann and Lance Henriksen
• Soundtrack composer Elliot Goldenthal final isolated in Dolby Digital 5.1 (offset-4dB but superb), available on the theatrical version only.
• Deleted and Extended Scenes
• MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream

Les suppléments suivants sont accessibles, pour ce film, sur le disque #5:

• Wreckage and Rage: Making Alien 3 (environ 2 heures + modules supplémentaires) , présenté en 4/3 ou 16/9 selon les segments et SD.

Enfin, le dernier disque reprend les suppléments déjà disponibles sur le précédent coffret DVD (2003), dont voici la liste pour ce film uniquement:

• Pre-Production
• Production
• Post-Production and Aftermath Alien 3
• Advance Featurette
• The Making of Alien 3 Promotional Featurette
• Trailers & TV Spots

On ne s'en plaindra pas, bien loin de là, mais Warner poursuit sa ligne éditoriale et amène en HD l'un de ses titres les plus phare des années soixante dix. Les Hommes du Président va donc bénéficier d'une sortie Blu-Ray en zone A dans un premier temps le 15 février prochain. Lisible en zone B, ce titre sera proposé dans une toute nouvelle édition incluant un digibook de 40 pages, le film retravaillé/remasterisé, et accompagné d'une piste son proposée en DTS-HD Master Audio 5.1. Une liste de suppléments suffisamment exhaustive pour justifier un achat a elle aussi été publiée. La voici:

• Commentary by Robert Redford
• Telling the Truth About Lies: The Making of All the President's Men
• Woodward and Bernstein: Lighting the Fire
• Out of the Shadows: The Man Who Was Deep Throat
• Vintage Featurette Pressure and the Press: The Making of All the President's Men
• Vintage Jason Robards Interview Excerpt from Dinah!, Hosted by Dinah Shore
• Alan J. Pakula Thrillers Trailer Gallery