D are mountains of Central Asia to the deserts of Egypt, the streets of Paris to the North Pole, the agents of the elite team known as GI Joe lead a struggle against a formidable enemy. With the latest technology in intelligence and military equipment, they fight the powerful arms dealer Destro and the mysterious terrorist organization named Cobra, who seek to plunge the world into chaos ...
IMAGE
VIDEO CODEC: AVC
1080p
FORMAT: 2.35:1
Fox, France, availability: January 2010
Dithyrambic action film, GI Joe had to have a transfer 1080p High Definiton with onions. This is indeed done with this pressing in great shape, which allows the screen to scatter a myriad of colors, changing the thread of the narrative. The definition is shown in detail, and detail rendering lens, the foreground to the last. The excellent management of the AVC codec allows the film, rather long, to find his rhythm encoding, and offer rich and detailed images, many strong qualities. With few exceptions, the contrasts officiate with care and depth, and it is the same for the black level. The scenes and scenery are being cut with sensitivity and precision, and integration of SFX, if it shows some fluctuations more or less annoying, shows a very good performance. No fault tarnishes this dynamic presentation, which combines quality of quality, with the exception of some plans milder than those preceding them directly. Nearly three-dimensional on the wide shots, the images show impeccable level rendering, offering to this visual extravaganza continues as a green technology.
ITS
DTS-HD Master Audio 5.1: English, French Dolby Digital 5.1 (640 Kbps)
24 Bit, 48 Khz (4801 Kbps)
OFFSET: -6 dB
Largely more convincing than the last productions of Stephen Sommers, the director, the soundtrack of the film does much to offer, far from it, but also offers some very unseemly disappointments that we propose to detail more low. As a whole, the film has an area of acoustics, the first choice. As diverse as pictures, audio speakers in the film sometimes put the bar very high, the image of the sequence that opens the film: watch the ambush land and air blasted delivers a soundstage, dynamics and boosted multipath effects rave. Passages of helicopters crossing the listening space from front to back, repeated crashes, sounds of bullets, travel gear ... This short sequence, by far the most successful film in the field strictly acoustic, allows operating total and radical enough to all the listening space, projecting sounds and effects with speed and dispatch in a space filled to its height 5.1, operated and dynamically reinforced solid bass, while the descents to the most serious below do not necessarily present if that. Fluid, airy, vitamins, fast and pregnant, this sequence shows ferociously destructive, and enjoys a totally creative sound and a sound editing frankly very successful.
But these past few minutes admirable and high-value space, then falls back into an established standard of sounds in space, and combines the blackheads as it is ultimately far too often the case for larger units North American Starting with ... dialogues, weak moments, without size or position in real space. Then comes the management of the sub-bass, some (or many) capriciously, as if a corrective filter was applied. And this filter, let's talk about: a large number of sequences appear to have been outsourced acoustically speaking. Where fusion of elements and broader perspectives were expected sound, it is ultimately not much. Scene relegated back to a simple extension secondary decay dynamics, which limits the opening to new horizons acoustic, space management and sound somewhat messy ... When visually explosive sequences, the cluster of sounds generated seems to suffer a chronic lack of openness, a limitation in the frequency response, which leads to a sound presence certainly evident, but much more temperate than expected and matte. Attentive ears discern no evil presence, in the background, a correction filter which seems to have been used to correct the magnitude of the show, to not get too extreme to all when released in a domestic environment. Unimaginative real, mixing just follows the frame rate without extrapolate or to focus. Some ear fatigue was then invited to the party as the film progresses, and by dint of "boom boom" real ferocity or broadcast without hanging space imaginatively.
Brilliant qualities, certainly, but made a somewhat moderate or at least not as free and airy than expected, parasitized by the treatment, admittedly slight, but perceptible, that gave her the listener. A hubbub well organized, but in a pinch sound evasive, and sounds too "machined" to feed our ears (too?) ... Demanding Subtlety and lack creativity in the final regular call, but is it necessary to point We are in a production signed Stephen Sommers ... But welcome the editor who, unlike his previous outings, which were accompanied by simple Dolby True HD, seems to continue its efforts and offer viewers the codec lossless DTS-HD Master Audio 5.1.
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INTERACTIVITY
- The Big Bang theory: the making-of Gie Joe (30 minutes, HD)
- Audio commentary by director and producer
- The incredible special effects and graphics (HD, 21 minutes)
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