It's an impressive offering, whatever your sound system capabilities It's an impressive offering, whatever your sound system capabilities. The score fluctuates quite dramatically between thematically sound and just outright derivative and generic - a fact which is only further emphasised when the original anime score plays out over the end credits - but at least it gives the surrounds yet more to play with. Bullets spin around right in front of you, landing hard with LFE impact, whilst body blows carry weight too as the Major's super-enhanced powers crack skulls. It's finely tuned, and discretely channeled, giving power and direction to the more bombastic elements - as gunfire and, in particular, the spider-tank's shells - punch holes in your living room walls. Dialogue gets the front row seats for the majority of the runtime, given clarity and coherence throughout, whilst effects are superbly observed, lapping up the minutiae of the future tech on offer in a way that only shows up the video presentation even more. All of the key elements are promoted with verve and distinction - the dialogue, effects and score coming together in a near-perfect confluence of superior ingredients afforded superior presentation. It certainly doesn't make for the gorgeous visual presentation we were all expecting.Ĭas Harlow reviewed the audio using a standard 5.1-channel setup – No such complaints on the aural front, with a tremendous Dolby TrueHD 7.1 soundtrack. Technically it's still a good looking film, and perhaps much of this comes down to the director's intent, but considering the film's rampant focus on visuals it's somewhat surprising that, rather than make the most of them, the decision has been made instead to almost mute them. Indeed it's tough to say it, but some may actually prefer the look of the Blu-ray, with the added benefits of the Ultra HD Blu-ray so thin on the ground that it makes a mockery of the potential of the new format. And that theme follows through for the rest of the video presentation, with only a few glimmers of tangible improvements caused by the implementation of HDR and WCG, and actually hints of thinner black levels are a result. Technically it's a good looking film but it's surprisingly flat and mutedĭetail is strong, and there is plenty of clarity and fine texturing, but - in direct comparison - very little discernible difference between this and the 1080p Blu-ray counterpart. Which is why it's all the more shocking that not only do we have the limitations of a 2K DI to contend with, but we also have to face a surprisingly flat and muted look that is far from flattering for such a gorgeous production. The vibrant neon colours should have burnt your retinas, whilst the clinical cyborg detailing should have been given a new level of precision on this release, courtesy of a 4K Digital Intermediate (DI). It should have stunned in its use of HDR and WCG, with pop that brought the 3D-designed elements to life in 2D in such an impressive way that you barely missed the extra dimension. The film was shot digitally using Arri Alexa 65 cameras at a source resolution of 5K, so it should have been one of the absolute best looking Ultra HD Blu-ray releases of the year - perhaps of all time. The UHD Blu-ray was reviewed on a Samsung UE55KS8000 Ultra HD TV and a Samsung UBD-K8500 Ultra HD Blu-ray player. Ghost in the Shell hacks into UK 4K Ultra HD Blu-ray presented in 3840 x 2160p with a widescreen 1.85:1 aspect ratio, using 10-bit video depth, a Wider Colour Gamut (WCG) and High Dynamic Range (HDR), encoded using the HEVC (H.265) codec.
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