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И что, это доказывает, что это ОСНОВа? ;-))
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Дата: 10.11.00, @14:53
`http://www.thebigpicturedvd.com/cgi-bin/master/viewer.cgi/M_i_2 `Не верил? Лови: ` `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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