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

Disney France has just bous communqiué send the official press, about the release of HD DVD and highly successful Prince of Persia The Sands of Time, canned by Mike Newell. The program includes a 1080p image that can only delight, and a soundtrack (English only) proposed DTS-HD Master Audio 5.1. The French version will benefit for its part, and in accordance with the habits of the editor, a "simple" soundtrack encoded in DTS 5.1 Full Speed ​​(Kbps 1509.75. The channel mixing knew how to show strong, broad and stirring in theaters. Draws doubt that this edition will transcribe it perfectly. mini 66 stories gathered around an interactive index, and a handful of deleted scenes included in the list of supplements.

Rather unknown to the general public, real critical success when it debuted in 1997, Absolute Power, brilliantly directed by Eastwood, is being published in Zone A (Warner), and very recently in our area B. Devoid of any supplement, this edition offers a beautiful soundtrack encoded, against all odds, in DTS-HD Master Audio 5.1, 24 Bit, and with an audio bitrate of 4069 Kbps significant on average. We are very familiar with this film amazing, long, meditative at times, but profoundly successful, sort of amplified thriller suffused with a surprising moral and political dimension, for what it is (the Cahiers du Cinema regarded at the time as a masterpiece), but also for his soundtrack to the mix sparkling. He also made our second purchase AC3 Laserdisc format in its time. And if the Dolby Digital (384 Kbps) it contained at that time will never rival with a sound track proposed DTS-HD Master Audio today already put it in a light mix cleverly composed, lively on the back (into the beautiful music of Lennie Niehaus, a former collaborator of the great filmmaker before that it was he who composed the scores for the full original soundtrack of his works), subtly set in the smallest space sequences, and not only when of the roughest. Of hours spent listening to what, at that time still, was the discovery of the revolution "5.1" (in 1997) allowed us to know every detail of this film very delicate, and to appreciate the subtlety of gesture staging, in part, and sound. So great news that this reissue, especially since the film is very little (if not ever) telecast. A boon to the (re) discover, in a very low price .

IMAGE

CODEC VIDEO: VC-1
1080p
FORMAT: 2.35:1
Warner Bros. (Blu Line), maximum recommended selling price: 15 €

If the first few sequences leave fearing the worst (very light effect VHS), then improves dramatically, giving the film a unique visual adornment. Color saturation is sometimes over very advanced, but the flavor is consistent with our visual memories of the theatrical release. The definition and sharpness proves generally very successful, particularly during outdoor sequences. Contrast, genuine, allow optimum readability, and it will be the same for brightness, subtly adjusted, with some effects "sticker" on a few planes, the edge part. The compression is up to the task without a hitch, and all breathe the good silver. What about if not that great photo of Jack N. Green shows himself brilliantly restored, and the staging of the master continues to impose, via images retyped, without having been completely remastered. To end a title catalog, the result will be amazed by its fine and restitution by the subtle textures that inhabit each plan. At no doubt.

ITS

DTS-HD Master Audio 5.1: French & French Dolby Digital 5.1 ... etc. (-4dB)
24 Bit, 48 KHz, 4096 Kbps
OFFSET: n / a

Acoustic rendering finally overcomes the agony of compression imposed by the publisher to its Dolby Digital anemic during the era of the DVD. The previous incarnation of the video film on DVD, only rarely benefited from the potential of multi-channel sound, and, worse, had a muffled sound stage and off, compressed field dynamics. The track DTS-HD Master Audio available here very clearly and favorably corrects the shot, giving the film and its strong mix of soul in terms of its dynamic qualities. Thus, the spatial frontal supports and dramatically broke through the surface of your speakers. In his large ensemble, the sound will appear swifter, bigger, faster and more realistic, with more textures and sound momentum acoustic field. Intelligibility and premium dominates above all, and the bass section.

The key sequences of the film (burglary and leak-Eastwood Luther) enjoy crisp and clean spatial frequency that grant to the superb score by Lennie Niehaus a dynamic and expressive power hitherto unsuspected. The bass are present, with a few runs short but sensitive, and the entire audible spectrum responds to the demands of orchestral support Niehaus. Behind the scene, rather secondary, does exist, even in the reproduction of the orchestra. Mutliples the urban atmosphere make up for in presence as well as spatial dimension. Moreover, the dynamics is seen fully reinvested over the laserdisc edition, small peaks reaching here liveliness energetic. As for the dialogues, their reproduction is very clear, open, not burdened by any worries of intelligibility. They are armed with a clarity of listening and a force that often exceeds, and happily, many contemporary productions ...

The sequence of the coffee "Alonzo" boasts stunning textures, where serious and sub-bass with a live top end untied, natural, no side ever in the artifice, and suggesting an appropriate fulfillment of the soundstage. The clarity of sound, yet very few remastered, it is readable from beginning to end, and the extra clarity offered by 24 bit depth signal, and the choice of uncompressed digital audio, will show optimal offering audible results from the start of the film, which gains considerably not open sound field, heat and transparency. A result that, overall, we were amazed, and have worked with us intelligently and finely in the rediscovery of this film subtly managed. Very highly recommended.

INTERACTIVITY

• Totally absent ...

This is the New Year's Eve on the Poseidon. Travelers are partying and drink to the future. But their future is fast approaching when a wave overturned the vessel 46 meters ... the battle for survival begins.

IMAGE

CODEC VIDEO: VC-1
1080p
FORMAT: 2.35:1
Warner Bros. (Blu Line), maximum recommended selling price: 15 €

Highly saturated images of the film offer a brand new viewing experience. Color palette is shining brightly, offering elegantly saturated primary colors, a beautiful color stability, amplified by the excellent framing in Scope. The definition remains sharp, except for some sequences underexposed, but very rare. For the rest, brightness, contrast and black level can take full advantage of the extensions offered by the Blu-Ray. The depth of field is so prodigious illustrates on many stages, drawing a sensation in the middle dimensional images. The alternation between color underwater scenes and interior scenes devastated, with warmer colors, poses no worries, each preserving a high proportion of intensity. Finally, we note the presence of silver grains: although quite a few on this sequence, it remains natural and realistic in most cases, the image slowly texturing. Some visual effects, totally overwhelmed, appear arrogant basicity in some respects, as the sharpness offered by HD enhances the viewing experience.

ITS

DTS-HD Master Audio 5.1: French & French Dolby Digital 5.1 ... etc. (-4dB)
16 Bit, 48 Khz
OFFSET: n / a

Acoustic rendering finally overcomes the agony of compression imposed by the publisher to its Dolby Digital anemic during the era of the DVD. The previous incarnation of the video film on DVD, only rarely benefited from the potential of multi-channel sound, and, worse, had a muffled sound stage and off, compressed field dynamics. The track DTS-HD Master Audio available here very clearly and favorably corrects the shot, giving the film and its strong mix of soul in terms of its dynamic qualities. Thus, the spatial frontal supports and dramatically broke through the surface of your speakers. In his large ensemble, the sound will appear swifter, bigger, faster and more realistic, with more textures and sound momentum acoustic field. Intelligibility and premium dominates above all, and the section of the serious, albeit powerful, enhanced compared to the DVD experience, but well below expectations.

However, the rear stage shows completely extinguished, secondary, and never has the energy needed to fill the listening space. In this sense, the soundstage remains ossified only to front channels, the presence on the back under the more anecdotal ... The effects are very rare atmospheres shy, almost inaudible, which, in turn, ruin the spatial dimension this soundtrack that seemed to us very much more open in theaters when it was broadcast in 2006. A lack of consistency some noise, especially as the previous productions of Petersen had managed to fill in this field, even making prowess, given the technical requirements of the director of Das Boot. Of Poseidon, the entire soundtrack reacts through explosions and concussions, shock of gigantic proportions of objects whose sound echoes and other events remain strangely and systematically located on the front stereo channels of the facade. An undeniable disappointment.

INTERACTIVITY

• Poseidon a boat on the set (22 min, 4/3, resulting from the DVD edition)
• Log (10min, 4/3, resulting from the DVD edition)
• Poseidon upside down (12 minutes, 4/3, resulting from the DVD edition)

Visually very successful Monster House prepares for a repeat of size, because the publisher, Sony, has decided to 3D conversion of the film, thus bolstering its catalog tityres in this format. This Blu-Ray 3D (version 2d also included) offer also a soundtrack encoded in DTS-HD Master Audio 5.1, which can only sublimate the great job done sound design by Randy Thom. For now, only one issue area A is valid. Note that this edition will be no zoning, and therefore provide a reading in Zone B.

The supplement charge will offer the following contents, with two trailers presented in 3D HD:

• Filmmakers' Commentary
• 7 Featurettes:
  - Imaginary Heroes
  - Beginner's Luck
  - The Best of Friends
  - Lots of Dots
  - Black Box Theater
  - Making it Real
  - Did You Hear That
• Evolution of a Scene: Eliza vs.. Nebbercracker
• Photo Gallery
• Sneak peeks 3D:
  - Cloudy with a Chance of Meatballs
  - Open Season

Following the direct to video movie by Alexandre Aja, Mirrors 2, which features Nick Stahl, has just been officially announced and Twentieth Century Fox (in zone A for now, with logically impossible to read the film Zone B e due to the zoning policy of the publisher). Thus, on October 19, audiences will experience the film in 1080p format 1.78, and accompanied by a soundtrack encoded in DTS-HD Master Audio 5.1, it is hoped that more vigorously expressive than that of the first game.

The film will be given in unrated versions ("uncensored"), and it should be noted that this edition will offer, on DVD, original Korean film, Into The Mirror (no technical feature revealed).

Disc One (Blu-ray)

• Mirrors 2
• Bonus Features
  - The Other Side: Making Mirrors 2
  - Keeping it Real: The Visual and Special Effects of Mirrors 2
  - Deleted Scenes
  - Blu-ray Exclusive: Picture in Picture; Watch Mirrors 2 with the Woman in the Mirror

Disc Two (DVD)


Side One

• Mirrors 2
• Bonus Features
  - The Other Side: Making Mirrors 2
  - Keeping it Real: The Visual and Special Effects of Mirrors 2
  - Deleted Scenes

Side Two

• Into the Mirror (Original Korean Movie)

Directed by Vincenzo Natali, and still in theaters, Splice will be a new release for Warner Home Video to offer DTS-HD Master Audio 5.1 (in 24 Bit). The film is scheduled for Blu-Ray Zone A (no zoning) to October 5th. As a supplement, a single module, called "A Director's Playground: Vincenzo Natali on the set of Splice". The DVD version of the film will be included, as well as the now classic digital copy to download.

It is again late that we will discuss the release of Blu-Ray splendid Gainsbourg (Heroic Life) by Joann Sfar. Available for almost two months now, we finally managed to view this HD editing, which allows discovery amazed the film, which sees technical conditions presented in luxury. The soundtrack DTS-HD Master Audio 5.1, do not go around the bush, is one of the most successful heard this year, be it technical, but also and above all, art.

Daniel Sobrino, whom we interviewed there a few years, following his Cesar Award for Best Sound for his work on the Chorus, is credited as sound engineer. Cyril Holtz, mixer (overly) produced the talented 5.1 mix of the film, assisted by Jean Goudier (Sound editing). A fine team, which, once assembled, has opted for pooling of competences, thus giving to see and hear a mix and a soundtrack unique, flavored with new. Above all, the first burst of this mix comes from the recording of the dialogues, and quality of all sounds "in". The center channel has made itself a clear and crystalline, the dynamic voice startling, bordering the (almost) never heard this year.

Countless passages sung to comfort and benefit distribution and fidelity in the rendering which some startling results. A high fidelity sound that usurps any name, extending the vocal efforts of players, bringing to light their subtle interpretations. The outpouring of certain words, timbre accuracy and balance grain voices pierce the front soundstage with a razor sharp, even letting slip some hissing, no evidence of forced réégalisation. Dialogued with many passages, sounding dramatic, it is obvious that the film takes full advantage of this additional definition (24-Bit can be heard from start to finish), offering a brightness and clarity like no other.

But beyond this feature, which showcases the work of capturing Daniel Sobrino, the soundtrack also excels in reproducing the aesthetics of musical feeling, while providing opportunities to listen again and again. Where it was possible to expect very little in terms of spatial and crosstalk, this work sound surprises down the line. Indeed, the use of extensions offered by the surround back stage are almost constant, and its mobility in three-space shows a spatial sharpness and precision out of proportion. From the very first sequences, the balance of this mix is made ​​evident through its expressive freedom, freshness and evidence of its realism, which all lead to its immediacy and transparency. Every place seems inhabited so very true and realistic sound and extensions acoustic freeing itself from traditional notions of effects and moods. The laughter of children placed here and there on all axes of the soundstage, calls off in the forest, are all reproduced with all the virtues of realism pushed to its maximum, a large number of channels. Thus, if the film is finally ready with little bursts of sound, it is still an intimate acoustic spectacular, more highly event-field sound than the last installment of the adventures of Indiana Jones ...

En outre, l'aspect musical, ou plutôt de son rendu dans l'espace, a bénéficié d'un soin tout particulier, quasi-conceptuel. Tentative d'explications: la plupart des chansons de Serge Gainsbourg sont connues pour être rendues (et sauf erreur de notre part) en son monophonique. Ici interprétées par les acteurs, et nouvellement instrumentalisées par Olivier Daviaud et ses nombreux musiciens, la fidélité de la retranscription importait massivement. Or, en lieu et place d'une disposition spatiale traditionnelle, en mono éclaté sur les deux canaux frontaux, comme il est coutumier de l'entendre depuis tant d'années, Cyril Holtz a opté pour un positionnement bien spécifique au coeur de son mixage 5.1. Sans doutes ne l'avez vous pas remarqué, mais durant les deux heures quinze du film, outre les dialogues sur la voie centrale, seule la partie droite de l'installation/auditorium véhicule les sons, principalement la musique et les chansons. En ce sens, ce ne sont pas deux canaux frontaux qui jouissent des textes de Gainsbourg, mais la zone fantôme située entre le canal avant droit et le canal arrière droit. Loin de tout artifice, cette gestion de l'espace permet de solliciter des zones audibles peu conventionnelles, construisant par là même l'espace sonore sur la droite, tout en maintenant une profondeur acoustique qui couvre l'avant et l'arrière de la zone d'écoute. La musique de Serge Gainsbourg ne se voit ainsi aucunement dénaturée, mais profite d'une profondeur inédite via cette disposition très cinégénique, qui libère aussi la charge acoustique de la scène frontale. Certains aspects musicaux profitent de tous les canaux à disposition, aux moments dramatiquement opportuns.

Au delà d'une simple caractéristique technique secondaire, il s'agit là sans nuls doutes d'une authentique figure de style, visant, via ce procédé d'expression, à s'écarter de l'usage ordinaire de l'espace sonore cinématographique, dans le but de tenter d'insuffler une expressivité particulière au propos musical. Loin d'être tout juste évocatrice, la bande-son participe ainsi de cet effort de mise en scène. Mise en espace, la musique récupère une vigueur sensationnelle, lors de nombreux passages iconiques: l'arrivée de BB, les différentes rencontres, les enregistrements, les coups d'éclat… Le mixage n'atteint plus sa stricte visée de support audio, mais vise un état supérieur de représentation cinématographique, qui agit en symbiose avec les images. Un tel degré d'exigence, une telle conceptualisation impliquent des volontés stylistiques d'intégration, tout en révélant les sens multiples des sons mis en musique. Paroles et instruments, impeccablement enregistrés et mis en scène avec un brio exceptionnel, deviennent des êtres à part entière.

Signalons enfin la qualité et la prestance du rendu musical, qui met en valeur chaque instrument, et qui offre des textures musicales suaves et saisissantes de netteté et de profondeur. Subjectivement, le mixage semble même conserver une part importante des textures des prises de son analogique de l'époque. Certains passages obligent presque à faire grimper très haut le volume sur l'amplificateur, afin d'être violemment immergé par les paroles et les musiques de cet artiste hors normes. Soignée, nerveuse, réactive, musicalement chaude et presque charnelle, mobile et d'une très rare élégance, cette bande-son ne pouvait rêver mieux qu'une présentation en DTS-HD Master Audio. Le codec, pour une fois, y trouve une expressivité technique comme on en entend rarement. Particulièrement à l'aise, il impose la qualité d'écoute ainsi que la profondeur de signal qu'offre le son numérique non compressé avec une facilité doublée d' une évidence qui, littéralement, laissent sur le carreau. Massivement musicale, férocement réussie, cette bande-son constitue une véritable oeuvre d'art. Oubliez certaines productions nord-Américaines pourtant efficaces. La bande-son de Gainsbourg (Vie Héroïque) se pose, pour une pléthore de raisons, comme son immanquable point d'orgue technique et artistique.

Summer is in full swing, but the French publisher continues to offer high quality outputs, which will only make the delight of film buffs and curious cinéphages warned. These three titles offer soundtracks encoded in DTS-HD Master Audio 5.1 (or 7.1), and the option "3D Audio" permattant to discover the film over stereo headphones while enjoying a surge spatialization 5.1. Here are the contents:

July 28

VALHALLA RISING

After Pusher trilogy and Bronson, director Nicolas Winding Refn book an epic and dramatic, fascinating journey of a mysterious hero of the real border. An epic of sound and fury, served by a virtuoso staging and breathtaking images beautifully embodied by actor Mads Mikkelsen (Pusher, Casino Royale, Clash of the Titans). A breathtaking .... (English + French Master Audio 7.1)

August 4

THIRST

The new masterpiece of virtuoso PARK Chan-wook. A vision like no other the vampire myth, black and striking parable about love, death, religion and freedom. Jury Prize - Cannes Film Festival 2009 Exclusive: the Blu-ray edition presents the film version including the unprecedented long (approx. 15 min. Extra). Very dark and sometimes more demonstrative, it is for PARK Chang-wook of an alternative vision and complementary to that he wished to see come out in movie theater. A report that Fnac offer a special edition with a second disc devoted entirely to the making-of (approximately 1:38). (+ Korean French Master Audio 5.1)

ALL THE BOYS LOVE MANDY LANE

A great sexy and bloody slasher in the tradition of Remember Last summer, played by the gorgeous Amber Heard (Pineapple Express, Zombieland). Selected in many festivals (Toronto, Gérardmer ...), the film, visually inspired (Jonathan Levine is the former assistant to Paul Schrader), is also served by a Machiavellian scenario ultimately striking a unique atmosphere and an exciting soundtrack her. A success. (English + French Master Audio 5.1)

SYNOPSIS

The day the cops picked me up in my bank to tell me that I had a twin brother, who is more a mac, and I had 30 seconds to respond to their deal: 20 year jail or months in the skin of my brother, I put 15 sec to don his suit for mac.

PRESS KIT

After a series of serious films in recent years (The Ax, GAL, Have Mercy on Us later) it seems that only Thomas Langmann Jose Garcia returns to comedy. Producer and writer for Le Boulet and Asterix at the Olympic Games, he finds his dual status with the Mac. The recipe to get his favorite actor? Surprising in any case when we know that the original idea of the scenario just Gilou Thomas, director of Truth if j'mens, which revealed the actor to the public.

Bourdiaux Pascal, director of the film, which has long directed episodes of "One guy, a girl" was also venirArsène Mosca, recurring character in the series. Arsene Mosca will not be in uncharted territory, since he had already met Jose Garcia on the set of Asterix at the Olympic Games.

Jose Garcia finally found Gilbert Melki, with whom he had not worked since the Truth If J'mens 2. It also revives the poster with an outfit that had already marked the spectators of Boulet: a kind of robe / dressing gown that does not seem unlikely to interfere in the action scenes.

The cast includes two actors with singular trajectories. Jo Prestia and Doudou Masta have not always been on camera as interpreters: the first is a former champion of martial arts (Muay Thai) and the second a former rapper. A second round for the two men who were already gathered for the Horde.

This is not the first time that comedy is based on an unexpected resssemblance between two characters from very different. This is almost a spring classic. We remember especially Visitors and misunderstandings caused by the similarity between Jacquouille and Jacquart, both played by Christian Clavier. In Grosse Fatigue, Michel Blanc had also avoid trouble caused by a malicious lookalike, and The Whistler, Francois Berléands'invente a twin badass. Even across the Atlantic, this kind of plot has already been brought to the screen: in one day president, a private citizen at short notice to replace the president, which he is the spitting image.

The shooting has not been easy for Jose Garcia! The actor had to take dance lessons for the role. The excerpts from making off show that training has been intense to say the least. But the result is there: in the night club scene, you can see a mac unleashed that gives heart to joy on the dance floor ...

VIDEO CODEC: AVC
1080p
FORMAT: 2.35:1
Fox (France), availability: July 6, 2010

Globalement, cette édition HD délivre un rendu visuel chatoyant (colorimétrie somptueuse et relevée, aux cadres remarquables), offrant des images denses et piquées, bien souvent hautement détaillées. Un léger grain argentique habille l'ensemble, apportant une gamme de textures fort agréables. L'encodage se montre en tout points solide. La profondeur de champ, associée à un degré de définition poussé, offrent un rendu proche de l'exemplaire, loin de tout lissage ou de compromission. Excellent niveau des noirs également, aidé en cela par des contrastes saisissants. Dans l'ensemble, cette édition procure de fort agréables sensations visuelles, qui ne sont pas étrangères au cadrage Scope idéalement mis en lumière par cette édition Blu-Ray qui frôle la perfection.

DTS-HD Master Audio 5.1 : Français
24 Bit, 48 Khz
OFFSET : aucun

Si l'essentiel du spectacle se déroule sur la façade avant, délaissant d'occasionnels éclats que l'on aurait apprécié entendre émaner de derrière l'installation, la bande-son ne manque aucunement de rigueur ou de franchise. Mieux: elle offre de multiples points d'accès acoustiques, et se montre très ouverte en termes de spatialisation et de dynamique. Les dialogues savoureux occupent le centre de la scène frontale, et profitent d'un rendu dynamique et 'immédiat'. Le volume de ces éclats de voix se montre flatteur, étalonné avec soin. Les différentes ambiances musicales (ambiances, boites de nuit…)profitent elles aussi d'une ouverture stéréophonique du champ sonore plus marquée que sur d'autres productions du même acabit. Le canal de renfort de graves affiche une fine dextérité, et sert tout à la fois à amplifier un rendu souvent dynamique, ou à parfaire le poids acoustique de certains lieux (parking souterrain vers la fin du métrage). La réponse en fréquence, pour sa part, se montre libre et libérée de toute entrave compressive, quelque soit la zone du spectre audible.

Il en résulte un son aux aspects clairs (pour ne pas dire 'éclaircis'), libre, détouré avec soin, et armé d'une solide définition acoustique. Le sound design se montre pour sa part plutôt réjouissant: en ne recentrant pas l'ensemble essentiellement sur les dialogues, le film se trouve rapidement une autre vision sonore: bruits ambiants, définition des lieux, extensions des espaces naturels… . Un ensemble qui respire, agit et vit, amplifié et vitaminé par le codec DTS-HD Master Audio 5.1 qui octroie tour à tour une dynamique quasi-incendiaire à la scène frontale (réalisme audio très travaillé et immédiateté certaine), et un pouvoir de définition réaliste et solide, fort et patent. Une certaine richesse expressive s'empare de ce long-métrage, qui s'offre un rendu luxueux mettant clairement en avant le soin apporté à la conception sonore de cette comédie endiablée pour laquelle l'aspect audio a été intégré avec rigueur et vigueur (sens du rythme, relances régulières du tempo via des effets tonitruants ou irruptions brutales de titres musicaux pop…). A l'exception d'une scène arrière fort secondaire, reléguée à l'arrière-plan, peu porteuse et finalement anecdotique, l'ensemble séduit par sa franchise et son pouvoir d'évocation, frais et pétillant, qui n'est pas étranger au sentiment de feel-good que dégage le film.

• Making of (27 minutes environ)
• Le mac en six leçons
• « Le mac vu par »
• Bêtisier
• Bande-annonce

It will be on October 26th that will land in Area A, the Blu-Ray edition of the long awaited Alien collection. The four films, all directed by filmmakers totally different course will offer 1080p Full HD, and incorporate a proposed English soundtrack in DTS-HD Master Audio 5.1. If one knows nothing yet really on the technical process that allowed to give new life to these feature-length anthology, the publisher announced that all had been "refreshed" to allow a high definition experience "intense". A remastering of the picture has to be applied (what about the technical data? 4K? 8K?), And he most certainly be the same for the soundtracks, although in our opinion, the second installment, directed by James Cameron, should be the worst performing acoustically speaking, as was the case on its eternal incarnations video so far (VHS, Laserdisc, DVD). However, until proven otherwise ...

The full list of supplements, however, has been unveiled, and here is the content. A n'en point douter, il s'agit là de l'édition vidéo la plus complète jamais réalisée de toute l'histoire des supports vidéo domestiques. Selon nos confrères Nord-Américains de IGN, qui ont pu en avoir la primeur, ce ne sont pas moins de 60 heures de compléments vidéo, dont 12000 images d'archives qui garniront cette édition dantesque. Certains suppléments inédits seront également fournis (screen tests…). D'autres sont repris de l'édition Laserdisc du début des années quatre vingt dix. Difficile, humainement, de parvenir à un contenu plus exhaustif. Un index multimédia interactif, baptisé « MU-TH-UR Mode » sera également incorporé. Il permettra, tout e tirant parti des évolutions interactives apportées par le format Blu-Ray, de sélectionner, sure chaque film, des contenus additionnels disponibles dans le coffret. Enfin, les « enhancement pods » permettront, en cours de visionnage (via le profil 1.1), d'avoir accès à près de cinq heures de suppléments: séquences vidéo réalisées sur les lieux de tournage, explications techniques… . Six disques seront inclus dans ce coffret qui n'a pas usurpé son label « Anthologie ».

Notre édition zone B devrait apparaître peu de temps après la sortie zone A. Voici la liste complète de ces imposants suppléments (en Anglais pour le moment). Cet article sera mis à jour une fois les contenus officiels Français dévoilés (aucun changement à priori en terme de teneur éditoriale):

SOURCE : blu-ray.com, IGN.

Disc One: Alien

• 1979 Theatrical Version
• 2003 Director's Cut with Ridley Scott Introduction
• Audio commentaries:
  • Director Ridley Scott, writer Dan O'Bannon, executive producer Ronald Shusett, editor Terry Rawlings, and actors Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton and John Hurt
  • Ridley Scott (on theatrical cut only)
• Final theatrical isolated score by Jerry Goldsmith
• Composer's original isolated score by Jerry Goldsmith
• Deleted and extended scenes
• MU-TH-UR Mode interactive experience with Weyland-Yutani Datastream

Disc Two: Aliens

• 1986 Theatrical Version
• 1991 Special Edition with James Cameron introduction
• Audio commentary by director James Cameron, producer Gale Anne Hurd, alien effects creator Stan Winston, visual effects supervisors Robert Skotak and Dennis Skotak, miniature effects supervisor Pat McClung, and actors Michael Biehn, Bill Paxton, Lance Henriksen, Jenette Goldstein, Carrie Henn and Christopher Henn
• Final theatrical isolated score by James Horner
• Composer's original isolated score by James Horner
• Deleted and extended scenes
• MU-TH-UR Mode interactive experience with Weyland-Yutani Datastream

Disc Three: Alien3

• 1992 Theatrical 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, and actors Paul McGann and Lance Henriksen
• Final theatrical isolated score by Elliot Goldenthal
• Deleted and extended scenes
• MU-TH-UR Mode interactive experience with Weyland-Yutani Datastream

Disc Four: Alien Resurrection

• 1997 Theatrical Version
• 2003 Special Edition with Jean-Pierre Jeunet Introduction
• Audio commentary by director Jean-Pierre Jeunet, editor Herve Schneid, ACE, alien effects creators Alec Gillis and Tom Woodruff, Jr., visual effects supervisor Pitof, conceptual artist Sylvain Despretz, and actors Ron Perlman, Dominique Pinon and Leland Orser
• Final theatrical isolated score by John Frizzell
• Deleted and extended scenes
• MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream

Disc Five: Making the Anthology

• The Beast Within: Making Alien
  • Star Beast: Developing the Story
  • The Visualists: Direction and Design
  • Truckers in Space: Casting
  • Fear of the Unknown: Shepperton Studios, 1978
  • The Darkest Reaches: Nostromo and Alien Planet
  • The Eighth Passenger: Creature Design
  • Future Tense: Editing and Music
  • Outward Bound: Visual Effects
  • A Nightmare Fulfilled: Reaction to the Film
  • Enhancement Pods
• Superior Firepower: Making Aliens
  • 57 Years Later: Continuing the Story
  • Building Better Worlds: From Concept to Construction
  • Preparing for Battle: Casting and Characterization
  • This Time It's War: Pinewood Studios, 1985
  • The Risk Always Lives: Weapons and Action
  • Bug Hunt: Creature Design
  • Beauty and the Bitch: Power Loader vs. Queen Alien
  • Two Orphans: Sigourney Weaver and Carrie Henn
  • The Final Countdown: Music, Editing and Sound
  • The Power of Real Tech: Visual Effects
  • Aliens Unleashed: Reaction to the Film
  • Enhancement Pods
• Wreckage and Rage: Making Alien3
  • Development Hell: Concluding the Story
  • Tales of the Wooden Planet: Vincent Ward's Vision
  • Stasis Interrupted: David Fincher's Vision
  • Xeno-Erotic: HR Giger's Redesign
  • The Color of Blood: Pinewood Studios, 1991
  • Adaptive Organism: Creature Design
  • The Downward Spiral: Creative Differences
  • Where the Sun Burns Cold: Fox Studios, LA 1992
  • Optical Fury: Visual Effects
  • Requiem for a Scream: Music, Editing and Sound
  • Post-Mortem: Reaction to the Film
  • Enhancement Pods
• One Step Beyond: Making Alien Resurrection
  • From the Ashes: Reviving the Story
  • French Twist: Direction and Design
  • Under the Skin: Casting and Characterization
  • Death from Below: Fox Studios, Los Angeles, 1996
  • In the Zone: The Basketball Scene
  • Unnatural Mutation: Creature Design
  • Genetic Composition: Music
  • Virtual Aliens: Computer Generated Imagery
  • A Matter of Scale: Miniature Photography
  • Critical Juncture: Reaction to the Film
  • Enhancement Pods
  • MU-TH-UR Mode Interactive Experience to Access and Control Enhancement Pods

Disc Six: The Anthology Archives

• Alien
  • Pre-Production
    • First Draft Screenplay by Dan O'Bannon
    • Ridleygrams: Original Thumbnails and Notes
    • Storyboard Archive
    • The Art of Alien: Conceptual Art Portfolio
    • Sigourney Weaver Screen Tests with Select Director Commentary
    • Cast Portrait Gallery
  • Production
    • The Chestbuster: Multi-Angle Sequence with Commentary
    • Video Graphics Gallery
    • Production Image Galleries
    • Continuity Polaroids
    • The Sets of Alien
    • HR Giger's Workshop Gallery
  • Post-Production and Aftermath
    • Additional Deleted Scenes
    • Image & Poster Galleries
    • Experience in Terror
    • Special Collector's Edition LaserDisc Archive
    • The Alien Legacy
    • American Cinematheque: Ridley Scott Q&A
    • Trailers & TV Spots
• Aliens
  • Pre-Production
    • Original Treatment by James Cameron
    • Pre-Visualizations: Multi-Angle Videomatics with Commentary
    • Storyboard Archive
    • The Art of Aliens: Image Galleries
    • Cast Portrait Gallery
  • Production
    • Production Image Galleries
    • Continuity Polaroids
    • Weapons and Vehicles
    • Stan Winston's Workshop
    • Colonial Marine Helmet Cameras
    • Video Graphics Gallery
    • Weyland-Yutani Inquest: Nostromo Dossiers
  • Post-Production and Aftermath
    • Deleted Scene: Burke Cocooned
    • Deleted Scene Montage
    • Image Galleries
    • Special Collector's Edition LaserDisc Archive
    • Main Title Exploration
    • Aliens: Ride at the Speed of Fright
    • Trailers & TV Spots
• Alien3
  • Pre-Production
    • Storyboard Archive
    • The Art of Arceon
    • The Art of Fiorina
  • Production
    • Furnace Construction: Time-Lapse Sequence
    • EEV Bioscan: Multi-Angle Vignette with Commentary
    • Production Image Galleries
    • ADI's Workshop
  • Post-Production and Aftermath
    • Visual Effects Gallery
    • Special Shoot: Promotional Photo Archive
  • Alien3 Advance Featurette
  • The Making of Alien3 Promotional Featurette
  • Trailers & TV Spots
• Alien Resurrection
  • Pre-Production
    • First Draft Screenplay by Joss Whedon
    • Test Footage: ADI Creature Shop with Commentary
    • Test Footage: Costumes, Hair and Makeup
    • Pre-Visualizations: Multi-Angle Rehearsals
    • Storyboard Archive
    • The Marc Caro Portfolio: Character Designs
    • The Art of Resurrection: Image Galleries
  • Production
    • Production Image Galleries
    • ADI's Workshop
  • Post-Production and Aftermath
    • Visual Effects Gallery
    • Special Shoot: Promotional Photo Archive
  • HBO First Look: The Making of Alien Resurrection
  • Alien Resurrection Promotional Featurette
  • Trailers & TV Spots
• Anthology
  • Two Versions of Alien Evolution
  • The Alien Saga
  • Patches and Logos Gallery
  • Aliens 3D Attraction Scripts and Gallery
  • Aliens in the Basement: The Bob Burns Collection
  • Parody
  • Dark Horse Cover Gallery
  • Patches and Logos Gallery
  • MU-TH-UR Mode Interactive Experience

Nos confrères Nord-Américains du site blu-ray.com viennent de mettre en ligne un bref article indiquant qu'une édition Blu-Ray du film de Steven Spielberg, Artificial Intelligence , serait très prochainement disponible en zone B, mais uniquement en Allemagne. Warner détenant les droits d'exploitation pour l'Europe (il en fut de même lors des éditions DVD du film il ya de cela quelques années), il est tout à fait normal de ne pas voir de date de parution annoncée en zone A chez Paramount/Dreamworks. Depuis quelques mois, lorsque l'on pense Warner, on pense automatiquement à l'ajout d'une piste DTS-HD Master Audio 5.1. Nuls doutes que AI en bénéficiera, ce qui permettra de redécouvrir le travail de création sonore et de montage/mixage si exigeant de Gary Rydstrom, aux valeurs acoustiques très « tonales », dans des conditions luxueuses. Pour le moment, aucune annonce officielle n'a été publiée, même si le film est dors et déjà prévu au 15 octobre prochain. Les oeuvres de Spielberg tardant toujours à se voir paraître, quelque soit les supports vidéo, cette nouvelle ne peut être accueillie qu'avec la plus grande joie.

L'éditeur Français continue de sortir ses griffes, offrant une ligne éditoriale aussi riche que variée. Au cours des six prochains mois, l'anecdotique côtoie le pertinent ( Dans Ses Yeux ). Des oeuvres d'auteur, des best-of sportifs, des succès du box-office… Tous ces titres bénéficieront d'un pressage en 1080p, et seront tous encodés en DTS-HD Master Audio 5.1 (24 Bit jusqu'à preuve du contraire). Une curiosité: les images officielles de la coupe du Monde 2010, proposé à un tarif doux, qu'il nous tarde de découvrir en Haute Définition, via le codec vidéo AVC choisi depuis toujours par l'éditeur. Autre point à mettre en lumière: les quatre titres prévus en octobre bénéficient d'une tarification à 14.99€, ce qui ne sera pas pour déplaire.

A signaler: la bande-son de Emprise , qui possède un rendu spatial très séduisant, et extrêmement efficace.

• COUPE DU MONDE FIFA 2010 DVD & BRD Les images officielles de la Coupe du Monde 2010 (19.99€ pour l'édition Blu-Ray), en partenariat avec Sony (23 août)
• REMEMBER ME Film avec R. Pattinson & E. De Ravin (15 septembre)
• DANS SES YEUX Thriller Argentin – Oscar du Meilleur film étranger (22 septembre)
• SAHARA 1 BRD Film avec P. Cruz & M. Mc Conaughey 14,99€ (octobre)
• COAST GUARD Film avec K. Costner & A. Kutcher 14,99€ (octobre)
• EMPRISE Film de et avec Bill Paxton & M. Mc Conaughey 14,99€ (octobre)
• VAMPIRES Film de John Carpenter avec James Wood 14,99€ (octobre)
• THE CRAZIES Thriller horreur avec Timothy Olyphant (10 novembre)
• TWILIGHT Chapitre 3 – HESITATION avec K. Stewart & R. Pattison (4 décembre Aucune date confirmée pour le moment…)

The information comes from our colleagues highdefdigest.com. The highly anticipated, but in proportion as disappointing Iron Man 2, John Favreau, will be coming to Blu-Ray Zone A (logically readable zone B without any trouble) on September 28. Here are some good reasons to rejoice: the master image will be of course available in 1080p, and unlike the first game (at least for Zone A), the soundtrack this time will be offered in DTS-HD Master Audio 5.1 ( 24 Bit). Although the sequences agitated, say 'action' at the very least occupy only 6% of the film (indulgently) on this second episode completely devoid of challenge (x), they were, in theaters, at the telluric bottom of the spectrum, and extremely active in terms of spatialization. We know the habits of the publisher, Paramount, which according to its specifications under the sign of performance, should not rush through his copy HD. This title looks like a future 'Hit' for this autumn 2010.

Les suppléments, généreusement nombreux, occuperont deux disques, et proposeront:

Disc 1:

• Commentary by Jon Favreau
• SHIELD Data Vault (in HD, BD-exclusive)— Extend your knowledge of the Marvel Cinematic Universe with high-level clearance into SHIELD's digital data vault. Interact with select scenes from the movie that include new layers of graphics and insider information. View case files, dossiers, SHIELD training films, tech details and more.
• Previsualization and Animatics (in HD, BD-exclusive)

Disc 2 :

• Ultimate Iron Man: The Making of Iron Man 2 (in HD, BD-exclusive)
• Rebuilding the Suit—An all-encompassing look at the beginning stages of this mammoth blockbuster.
• A Return to Action—From Marvel Studios to the streets of Monaco, Jon Favreau takes viewers through the trials and triumphs of continuing Iron Man's story.
• Expanding the Universe—From the amazing sets of Stark Expo to Tony Stark's home and beyond, the Marvel Universe continues to unfold into new and exciting places.
• Building a Legacy—From filming to editing, scoring and visual effects, Favreau and his team face the challenges of bringing the sequel to the big screen.
• Featurettes (in HD):
  – Creating Stark Expo—A look at how the sets and computer-generated elements combine to create the massive set piece.
  – Practical Meets Digital—How the “practical” props inform the “digital” work that ultimately brings our hero to life on screen.
  – Illustrated Origin: Nick Fury—A comprehensive journey into creating one of the most mysterious and influential heroes in the Marvel Universe (BD-exclusive)
  – Illustrated Origin: Black Widow—An exciting look at the new femme fatale introduced in Iron Man 2 (BD-exclusive)
  – Illustrated Origin: War Machine—A look at the introduction of the character and how his friendship with Tony Stark resonates with fans (BD-exclusive)
  – Working with DJ AM—Jon Favreau remembers working with Adam Goldstein (BD-exclusive)
• Eight deleted and extended scenes (4 BD-exclusive) with optional commentary by Jon Favreau (in HD)
  – Alternate Opening
  – Coulson at the Senate
  – BD Exclusive: The Sub-Orbital Jet
  – BD Exclusive: Tony's Workshop (extended)
  – Natalie Wears the Gauntlet
  – BD Exclusive: Flying Party Girl
  – BD Exclusive: Mark II Security
  – Element Rediscovered (extended)
• Concept art gallery (BD-exclusive)
• Theatrical trailers (in HD, BD-exclusive)
• Music Video: AC/DC “Shoot To Thrill” (BD-exclusive)

SOURCES: highdefdigest; http://www.highdefdiscnews.com/

Même si nous avons accumulé des tonnes de retards ces derniers temps, en raison de difficultés personnelles multiples et variées, le site passe en horaires d'été, et ne cesse pas son activité durant la période estivale. Ainsi, pour continuer à nous suivre où que vous vous trouviez, jusque dans votre lieu de vacances via votre smartphone, voici un rappel des dispositifs actifs sur le site qui vous permettent de rester connecté.

Our Facebook Fan Page: accessible at this address , it duplicates the news site, and refer you to it. For now, 82 fans will follow us, launch discussions ... etc. One way to stay informed throughout the day, and participate in the community DTS-Phile. A report that since the early summer, you can comment on each of our news, reviews and articles via your Facebook account. See you in the footer of each of our items to proceed.

Twitter : en cliquant sur le « badge » situé à droite, sur toutes nos pages, vous pourrez, si vous possédez un compte Twitter, devenir l'un ou l'une de nos followers . Les news du site sont elles aussi dupliquées automatiquement, mais vous bénéficierez aussi de retweets issus du Twitterverse, en provenance des grands studios, et d'autres actualités High Tech.

Les Flux RSS et ATOM : le site incorpore deux flux RSS: un classique, et un autre plus poussé, plus complet aussi, en ATOM, accessible ici (recommandé). N'hésitez donc pas à alimenter votre agrégateur de flux sur votre PC, Mac, ou sur vos ordiphones .

Les options de Sharing ( partage de contenus). En bas de chacun de nos articles, deux liens sont disponibles, vous permettant, si vous le souhaitez, de partager nos contenus sur les réseaux sociaux majeurs: Facebook, Twitter, et, nouvellement, Google Buzz. D'autres services de partage devraient être bientôt disponibles.

Vous utilisez un iPhone, ou bien un téléphone fonctionnant sous Android ? Notre nouvelle version du site inclut, automatiquement, une version dédiée avec une navigation adaptée, plus légère, mais toujours aussi complète et riche en contenus. Il vous suffit tout simplement de lancer votre navigateur et de vous rendre sur notre site. Le passage sera alors automatique. Plus rapide dans son chargement, cette version est pensée pour être plus légère, plus pratique, moins lourde. Un réseau Edge ou 3G(+) est tout de même conseillé. L'adresse à employer directement est la suivante: http://www.dts-phile.com/wordpress. Il vous est bien entendu possible de le bookmarker .

Enfin, de manière plus secondaire, le site se veut « gravatar-ready ». Gravatar est un service web gratuit permettant de placer, lorsque vous commentez une news ou un article, via votre simple (et unique) adresse email personnelle, de vous identifier sans clic supplémentaire et de faire appaaître votre avatar/photo de profil de manière automatique. Pour se faire, rendez-vous sur le site Gravatar et laissez-vous guider. Sur chacun de vos commentaires, en employant votre adresse email communiquée sur Gravatar, votre avatar choisi apparaîtra. Il en sera de même sur tous les sites employant ce medium fort pratique.

Ce sera le vingt juillet prochain que Universal (France) proposera à la vente le film de Joe Johnston. Wolfman , remake avéré du film au titre homonyme, se présente de manière somptueuse pour cette édition Blu-Ray. Il nous a déjà été possible de visionner en partie l'édition zone B Britannique, totalement identique à celle que proposera l'éditeur dans nos vertes contrées d'ici quelques jours. Le verdict, partiel, se montre plutôt élogieux: le master image se montre extrêmement fidèle à la source, et même si la mise en scène abuse d'effets « gothique » et de filtres de luminosité, ce qui efface quelque peu la définition, en limitant sa réactivité, la section image se montre solide et détaillée, dynamique et enjouée. La très surprenante mise en lumière du film, qui joue sur des cadrages serrés et de brusques ouvertures du champ se montre réellement à son avantage, et l'ensemble accuse des contrastes forts et des premiers plans particulièrement détaillés.

La bande-son dispose aussi d'une très grande liberté expressive et agit avec beaucoup d'aisance sur le plan de la spatialisation multicanaux: contrairement à certaines pistes son proposées par l'éditeur, celle-ci semble dépourvue de toute forme de compromission sur le haut du spectre, qui se montre soyeux et ouvert, limpide et acéré. La mise en espace des sons fonctionne en ce sens à merveille, offrant de riches perspectives sonores que le codec DTS-HD Master Audio 5.1 amplifie encore davantage, lui octroyant une force réaliste et un sentiment d'invasion acoustique presque oppressant. La lisibilité semble optimale sur toutes les zones du spectre audible, et la réponse en fréquence se montre avantageuse et bien-portante. Le design, sonore accompagnant le film nous a semblé réaliste et vivant, pourvu de nombreux détails sonores et de nervures particulièrement réelles. Une jolie liberté acoustique, aucunement limitée, qui permet réellement au codec audio sans pertes de fonctionner à partir d'un terreau sonore de grande qualité.

La surprise provient également de l'interactivité: l'éditeur réalise ne effet une première, inédite et sans précédent à notre connaissance. Le film original, grand classique du studio, mettant en vedette Claude Rains ou encore Lon Chaney, se voit entièrement disponible, en streaming vidéo, via le BD-Live de l'éditeur. Selon la qualité de la connexion interne, la diffusion se fera en 480p, voire en 720p. Le film a subi une remasterisation partielle mais réelle, et les résultats sont superbes: 4/3 et noir et blanc agréablement préservés, rendu sonore en mono 2.0 clair et distinct. La liaison internet, à quelques micro-coupures près, se montre convaincante, réactive, et la lecture démarre en moins de 25 secondes. Là où il était possible de craindre une absence de contrôle de la part du spectateur, Universal, à nouveau, surprend, et propose un système de navigation simple et clair, que nous ne soupçonnions aucunement: en effet, à tout moment, il est possible d'agir sur le streaming, en mettant le film en pause, lecture, avance rapide… . Un grand nombre de chapitres est accessible depuis la timeline (compteur temporel défilant). L'ensemble demeure fluide, intègre, rapide, sans bavure. Seule une piste son en VO (Anglaise) est disponible, et l'absence totale de sous-titres (toutes langues) gênera les plus rétifs à la langue de Shakespeare, mais cette initiative inédite mérite d'être saluée. Elle permet surtout de sauver de l'espace disque, et d'utiliser l'extension BD-Live (connectivité internet) de manière pertinente, même si certains regretteront l'absence de DVD joint proposant le film autre qui'en streaming. Dans tous les cas, ce nouveau modèle éditorial n'a pas manqué de nous séduire, et il nous tarde de découvrir d'autres titres pourvus de cette extension fort réussie.