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

This 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 ...

In addition, the musical aspect, or rather its made in space, has received special care, almost conceptual. Attempted explanations: most songs by Serge Gainsbourg are known to be made (unless error on our part) in monaural sound. Here interpreted by the actors, and newly exploited by Olivier Daviaud and many musicians, the fidelity of transcription massively important. But instead of a traditional spatial arrangement in mono erupted on both front channels, as it is customary to hear for so many years, Cyril Holtz opted for a very specific location in the heart of its mixing 5.1. Without doubts you have not noticed, but during the quarter past two in the film, besides dialogues on the center channel, only the right part of the installation / auditorium vehicle sounds, especially music and songs. In this sense, these are not two front channels which have the texts of Gainsbourg, but the phantom zone between the right front channel and rear channel right. Far from all artifice, this space management can seek areas audible unconventional, thereby constructing the sound space to the right, while maintaining a deep sound that covers the front and rear of the listening area. The music of Serge Gainsbourg is thus no denatured but enjoys a new depth via very cinégénique this provision, which also releases the acoustic load of the stage front. Some musical aspects enjoy all the channels available, at times dramatically appropriate.

Beyond a simple secondary technical feature, this is without doubt a genuine zero figure of speech, for, by this method of expression, to depart from the ordinary use of the sound space film In an attempt to breathe expressiveness in particular about music. Far from being just evocative, the soundtrack part of this effort and staging. Staging, the music gets a stunning effect, when many passages iconic: the arrival of BB, the different meetings, records, shots of brilliance ... The mixing does not reach its target of strict audio support, but is a higher state of cinematic representation, which is in harmony with the images. This level of requirement, such a conceptualization involving wills stylistic integration, while revealing the multiple meanings of sounds set to music. Words and instruments, impeccably recorded and staged with exceptional brilliance, become whole beings.

Finally, note the quality and personable musical rendering, which highlights each instrument, and provides musical textures and sweet striking clarity and depth. Subjectively, the mix seems even keep a significant portion of textures taken from his analogue of the time. Some passages almost force to climb very high volume on the amplifier, to be violently immersed in the words and music of this exceptional artist. Neat, nervous, reactive, musically warm and almost carnal, mobile and a very rare elegance, this soundtrack could not have dreamed a better presentation in DTS-HD Master Audio. Codec, for once, there is a technical expression as we rarely hear. Particularly comfortable, it requires listening quality and depth of the signal offers uncompressed digital audio with ease coupled with an evidence that literally left in the lurch. Massively musical ferociously successful, this soundtrack is a true work of art. Remember some North American productions yet effective. The soundtrack by Serge Gainsbourg (Heroic Life) arises, for a plethora of reasons, as its inevitable climax technical and artistic.

OTHER ITEMS ON THE SAME TOPIC:

• GAINSBOURG, HEROIC LIFE: slight delay but confirmed output
• The Sound of Music: All the details of a Blu-Ray edition awaited
• THE EXORCIST: the thrill of anxiety in High Definition
• 'U2: 360 at the Rose Bowl ": High Definition output approach
• "GOOD MORNING ENGLAND": StudioCanal edition offers an elegant and beautifully fitted
• "Children of Men": a masterpiece in HD and DTS-HD Master Audio
• THE Dead Poets Society: reappearance in High Definition
• AMERICAN BEAUTY finally in High Definition. "Smile, You're at Mr. Smiley's! "