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

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

Four former members of the U.S. military, veterans of the War in Iraq, trying to clear their names with it, which is suspected of having committed a crime. The team looks forward to prove his innocence.

PRESS KIT

In one of the trailers, you can see Barracuda (Quinton 'Rampage' Jackson) whistling the famous theme of the series. Except that in the film, he sings the air is completely different ...

Early in the film, when the heroes arrive at the Hospital for War Veterans, Hannibal (Liam Neeson) engages the discussion with a man who is none other than director Joe Carnahan, who had already appeared in the same way in Mi $ e price (2007).

The actor Henry Czerny, who plays one of the senior Lynch (Patrick Wilson), is not a novice in adaptation of television series, since it already appeared in the cast of 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..).

CODEC VIDEO: 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: no

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)

Au coeur d'un bref communiqué de presse, une brève ligne précise: Wild Side a le grand plaisir de vous confirmer que PIRANHA 3D, d'Alexandre Aja, sea édité le 23 février 2011, en DVD, DVD Collector, Blu-ray et Blu-ray 3D dans notre zone B.

For one of the beautiful Wild Side outlets next year, including these four editions will benefit from the involvement and collaboration of the director of the film, including the content fresh and exclusive to France. For now, nothing has leaked, but we can sleep and have to add that the film will be presented in DTS-HD Master Audio 5.1 in the original (and no doubt VF?). Supplements should differ from those in the edition zone A (to be released next January), which, in turn, will offer an audio commentary by the filmmaker, five featurettes and still five more (exclusive Blu-Ray), the band Trailer of the film in 3D, extracts from storyboards, TV spots. In the area offer the film in 2D and 3D, in two separate editions.

Appointment is made!

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

Etant absolument émerveillé par l'interactivité proposée d'ordinaire par l'éditeur sur ses titres édités en Blu-Ray, et de sa richesse inouïe, nous ne pouvons que nous réjouir de cette nouvelle sortie. Chaque édition « Diamond » bénéficie d'un soin qualifiable d'extrême, jusque dans l'animation des menus de navigation. Les contenus supplémentaires se montrent eux aussi d'un intérêt jamais secondaire, et certains segments documentaires de La Belle et la Bête pour ne citer que ce titre représentent, de loin, ce que l'on a pu découvrir/voir de mieux en termes de suppléments cette année. La qualité des images d'époque de ces documentaires restaurés, de même que la finesse du rendu HD 1080p des photos noir et blanc scannées avec soin en haute résolution permettent de redécouvrir totalement la notion de « supplément », et invite à se laisser aller et porter au plaisir des découvertes. Enfin, les suppléments les plus voraces en terme de stockage sont toujours placés sur un second disque (BR 50 Go), sans oublier la présence d'un DVD du film pour les plus jeunes ou pour les déplacements des enfants. A noter aussi: la présence d'un mode « Family » et « fast play » qui permet, suite à la première lecture et pour les suivantes, de zapper totalement les textes de loi et les bandes-annonces en début de lecture du disque. Le mode « family » permet de définir un minutage afin que les enfants puissent profiter du spectacle durant un temps maximal fixé par les 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

A third component colorful, spectacular and deeply pessimistic, born of a creative process extremely painful and chaotic. Film cursed, hated, destroyed by the end of his shooting, the first realization of all of a Fincher film Martur that over time, seems to improve, and soothes himself the tensions of its genesis. Production colossal but carefully controlled, the film has never been incarnated as Fincher wanted. Birth in pain, the film has never met her audience overseas, but has received very favorably in the world where he was operated for many weeks. Furthermore, Fincher has never been able to turn Alien 3 with a final version of the script: it was rewritten, recomposed and reorganized continuously. This delicate narrative architecture is provided absolumlent not visible or detectable when watching the film, but represented a true test of strength during the shooting, where most of the day was primarily oriented toward rewriting phases, before some scene or sequence is not circumvented. Worse, if the film reflects the world of coming Fincher (Fight Club, etc.), the filmmaker was not even invited to the assembly ... In the end, the film evolves from himself, in an almost organic. It certainly borrows a term from classic psychlogique and agreed, but its structure is closer to those of myths: a shift ers decay, decrepitude, self-denial, agony, tragedy, like its denouement , denser even in this version because it removes this ridiculous plan when the fetus was the Alien burst the belly of Ripley in the movie version.

PRESS KIT

Anecdotes abound about the film, and for good reason: nothing seemed to take shape in a natural way, and every act of creation obeyed above all a new perspective of production. Expensive and painful, Alien 3 was, despite all its qualities (and it is very much more successful than the fourth installment), a miserable failure who saw his director is clear from its inception, however sotenu and carried by a Sigourney Weaver enthusiastic and serene. Originally, Ripley was not included in this third episode, but reappear again in a fourth. However, nearly six-years having passed since Aliens, Sigourney Weaver agreed to be involved, both as an actress and co-producer. She earned a salary of $ 4 million, in part, explained it, "(...) for being forced to shave his skull."

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].

CODEC VIDEO: 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: no

La bande-son de ce troisième opus a toujours bénéficié de soins d'envergure et c'est avec délectation que l'on retrouve une bande-son définitivement optimisée et très dynamique sur cette ultime édition. 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.

Elliot Goldenthal, the composer, reveals in supplements its use of atonal music, which ranges from orchestral music and sound effects provided by the use of instruments to incongruent sounds. It thus emerges from this soundtrack a certain acoustic energy, built on sound discordant notes procured by music and a melodic line supported by an ample generosity during key moments. During the action sequences, the soundstage has incredible stability (the film dates from 1992) and a power to evoke overwhelming. As such, wind and air circulation in the database are everywhere and end up generating an acoustic environment and penetrating more immersive, the DTS HD Master Audio codec allows to densify and expand, while reducing the Yet open field distortions. The gain in weight and fineness is more massive then shows: it increases the volume of spatialization while enhancing the realism of soundscapes that make up the background sound of this soundtrack. The voices are picked with extreme care (again, for the time), but we note again the deflections of the integration of certain sounds captured during the filming (production sounds) and others post-production, but also at new crossings of the special version. At times the dialogue is inaudible, then they are bursting with vitality acoustic to 95% of the time. But the sound is fed, rich, opulent and has large spatial qualities, even in the placement of the voice in space, where coordinates are clearly legible sound in space, so holographic. The roars of the creature in center lane are often extremely impressive dynamic range and use a very opulent. Music and its spatial arrangement, made clear and a beautiful use of all channels, is carefully recorded and integrated with onions. Occasionally, a striking sonic detail, as this drop of water falling from the ceiling in a furious scene, comes to invite to the party, characterizing a sound space with a beautiful vitality. We can only recommend this soundtrack to anyone who has changed his pregnant: she will be in its way, a very successful test to account for the coherence between broadcasters, as she knows how to build a space sound very clear, structured with extreme care, in which the sound masses are deployed very broadly and very mobile. Codec DTS-HD Master Audio is sometimes able to perform true miracles of presence and natural depth, providing a spatial rendering of a physiological and really amazing clarity in the very numerous occasions. Again, its contribution can make the most of every micro-detail of the mix, while making it more obvious for spatialization, without compromise. Judge for yourself: on the DVD region 2 (Japan, who had e 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… .

To conclude, we progress that finesse and depth to compose a complete record of high level, rich tones of mobile, creative and viscerally palpable. It is the same in terms of dynamics in DTS-HD, during these attacks where shocks are staged in the soundtrack, the slightest echo (net and edge) is seen spread in the acoustic space of this world of metal and cement. Highly persuasive.

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
• BO finale du compositeur Elliot Goldenthal isolée en Dolby Digital 5.1 (offset de -4dB mais superbe), accessible sur la version cinéma uniquement.
• 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