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

SYNOPSIS

F or 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].

VIDEO CODEC: AVC
1080p
FORMAT: 2.35:1
Fox (France and elsewhere), availability: 27 October 2010 (Area 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: English. French, etc. ... talian are available in DTS 5.1 (754.75 Kbps)
24 Bit, 48 Khz
OFFSET: no

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. Indeed, the work and design of this album is by far one of the most compelling of the series, with a permanent maximization of the soundstage that never breaks down on the tracks before and never ceases to open outlook and creative surround. The operation of the soundscape is permanent, thorough and vigorous, and sees enhanced by an excellent signal to noise ratio. We learn, in the supplements on the post-production phase, the sound designers and sound editors have used a number of sound effects rather Accordingly to destabilize the audience emotionally, and it is with great pleasure that we can check all this in the 5.1 mix, here encoded in uncompressed digital audio, where the integration of sound elements simply proves close to a certain image of perfection. The sounds, the power of recovery are high and very convincing at once fleeting and high quality, and all breathe a beautiful technicality. Precise and radical, the sound is high-flying, so that the operation performed creative when mixing a whole can qu'enjoliver under the sign of the quality and relevance. But there are much better than that: the film evolves in phases, like the soundtrack. Following a generic economy plays but never forgets to set up a furious and creative soundstage, the film moves towards creating a sonic landscape as authentic and as the viewer discovers the prison and all the details of his prison life. This generic is there your center channel, and consists of a series of symphonic choirs interspersed with lots of sound effects dry, sharp and visceral shock materializing inside the shuttle and its ejection to Fiorina 161. Moreover, the entire soundtrack is conspicuous by its formal facade and its performance qualities. The usual technical elements (crosstalk, dynamic channel separation, response etc. ...) are also doing some great values, turning every moment of this soundtrack in a guilty pleasure listening, but highly efficient. Just to be convinced to listen to some sequences located in the infirmary and the richness of moods placed back on the scene. In the second part of the film, the soundtrack perfectly recreates the various sensations partitioning literally putting on stage and on all channels the apocalyptic chase between the creature and the prisoners until end almost Christlike.

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 exclusivity), bitrate (data transfer rate) of the measured 754.75 kbps DTS track, and sound file of this track half speed reached 799 MB On this edition, the track DTS-HD Master Audio 5.1 gives a bitrate average of 4.1 Mbps (4100 Kbps) with peaks in excess of 7 Mbps, presented in 24-bit and 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
• 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

The following supplements are available for this film, disk # 5:

• Wreckage and Rage: Making Alien 3 (about 2 hours + additional modules), presented in 4/3 or 16/9 according to the segments and SD.

The final disc contains the extras already available on the previous DVD box set (2003), as listed below for the movie only:

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

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