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http://www.thebigpicturedvd.com/cgi-bin/master/viewer.cgi/M_i_2
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IMAGE ***** out *****
Well, you’ll find not one discouraging word from this hard-core, well-seasoned home theater
fan about this piece of work from Paramount. What an outstanding transfer!
The picture is always sharp and detailed, with clean solid edges. We noted no ‘ringing’ or
‘shimmer’ from digital enhancement, and no colored halos around darker objects framed against
lighter backgrounds.
Colors are bold, vivid but always solid and natural looking. Cinematographer Jeffrey Kimball
used bright and natural lighting throughout much the film, and under these conditions, natural
tones such as the brown, orange, and blue of the Australian landscape, and the sleek silvers and
blues inside Biocyte appear brilliant. Paramount’s transfer yields saturated hues with no noise
or grain regardless of lighting key. Black is deep and solid, and white fields are bright and
clean, with no ‘blooming’ or mottling. Even in more densely framed shots, colors hold their
ground – there’s no bleeding between fields. Flesh tones look natural in all lighting keys.
Contrast and brightness levels are good and consistent throughout the presentation. The print
used by Paramount to strike their anamorphic master couldn’t have been cleaner. We noted no
annoying nicks, scars, or scratches during the presentation. This is a top drawer pressing from
Paramount – easily worthy of a high five from The BIG Picture.
SOUND ***** out *****
Paramount’s Dolby Digital 5.1 track is as powerful, dynamic, and engrossing as Woo’s visuals.
The forward stage is deep and wide and reaches around often and seamlessly to merge with the
aggressive, split surrounds. Panning effects and sound effects placement are smooth and
accurate.
I love it when a soundtrack like this one so easily, and accurately pin points sounds even during
the briefest of shots as changing camera positions shift our perspective during action sequences.
The highlight here has to be the extended chase sequence on motorcycles that sends us careening
down the roadways at seventy miles an hour plus. Engines growl, guns blast, tires skid, bridges
blow, and vehicles flip and crash. We’re assaulted by sounds of metal and rubber from all
positions about the surroundstage and up and down the dynamic range.
The surround channels handle as much bass and higher end as the forward mains, and the signal
is equal in strength. Split effects are particularly abundant during the shootouts and chases. The
roll off position used for our speakers allow for a great deal of bass to be directed to the four
corners of the theater. But our .1 FX channel still carries a good deal of thunder and rumble
during the action scenes. Not only are explosions grounded by the sub, so are crashes of waves
on a rocky shore, and certain bass riffs in Hans Zimmer’s kick-butt score. Lalo Schiffrin’s
Mission Impossible theme has been stripped down to a raunchy guitar progression to yield a
heavy metal quality, but that’s OK with me. A new type of MISSION IMPOSSIBLE deserves a
new sound. Zimmer’s score is well recorded and nicely integrated, rising up from all positions
with equal levels to fill the room. Dialogue is also very well recorded. Voice sound full and
natural – never distorted or compressed.
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2Кастор - о Ми2 -- BFG -- 10.11.00@11:34 (Чит.: 72)