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`http://www.thebigpicturedvd.com/cgi-bin/master/viewer.cgi/M_i_2
`Не верил? Лови:
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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.
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`SOUND ***** out *****
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`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.: 77)