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Vertical Limit Blu-ray |
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Vertical Limit Blu-ray
Sony Pictures | 2000 | 124 mins | Rated PG-13 | Feb 20, 2007
Vertical Limit(2000)Action | Adventure | Thriller     K2, a 28,250-foot mountain in Pakistan's Karakoram Range, is the setting for this adrenaline-pumping action-adventure. It's a race against time when a retired mountain climber (Chris O'Donnell) leadsa rescue mission to save his estranged sister (Robin Tunney) and other members of her team who havebecome trapped on K2 after a deadly avalanche. Martin Campbell, the celebrated director of The Maskof Zorro and GoldenEye, delivers high-voltage action and exhilarating suspense in a film that pits man against his own limitations and the awesome power of nature's uncontrollable elements. For more details about Vertical Limit on Blu-ray, see the Vertical Limit Blu-ray Review Starring: Chris O'Donnell, Bill Paxton, Robin Tunney, Scott Glenn, Izabella Scorupco Director: Martin Campbell Vertical Limit Blu-ray, Video Quality  Sony’s brings Vertical Limit to bluray in a terrific 1:85:1, 1080p/MPEG-2 encode that at points is truly eye popping. This encode starts off with a clean source print, free of any blemishes, dirt, pops or artifacts. There is some grain, but it is never objectionable, and only visible in wide vista shots with plenty of snow in it. Colors are eye popping, especially greens, reds and blues and the hues associated with these colors. Detail is excellent, flesh tones dead accurate, black levels deep and stable, and this title sports some of the most natural looking images I have seen in a while. With all of the good points mentioned, I do have some minor quibbles. The blue screen effects shots look dated, and it was somewhat easy to tell they are blue screen shots, not to mention the softness that accompanied the look. You could really tell they were on a set with a backdrop. There was some minor print wavering and stability issues, but they were so quick, many might not notice. Contrast occasionally wavered even within a scene. Some of the CGI made shots soft, but since there weren’t a lot of them, this might not be a problem for some. Overall this is a fine transfer, and at moments a great transfer. Vertical Limit Blu-ray, Audio Quality  The audio of Vertical Limit comes in three flavors, a 5.1, 16/48 kHz PCM track, a 5.1 Dolby Digital track at 448kbps, and a French language 5.1 Dolby Digital track at 448kbps. I picked the PCM track because it is by far sonically superior over the rest. As far as I am concerned the PCM soundtrack is demo material easy. In order to really get every last bit from this soundtrack you need to turn the volume up a little, and make sure you have a VERY quiet room. There is a lot of very low level information that will be missed that really adds to the atmosphere if you don’t. Dialog is always clean and clear, but the choice to close mike the actors gives some of the actors a “chesty” quality. It doesn’t affect intelligibility, but it makes their voices sound quite unnatural at times. On occasion the dialog does not blend with the ambience, which makes it sound detached, isolated and very ADR like. James Newton Howard film score is exceptionally well recorded (thanks to the expertise of Shawn Murphy) and is well blended with the sound effects. Instruments fill out the front sound stage not only laterally, but deep as well wrapping nicely into the surrounds. The high end is airy, well extended, and very sweet sounding. Instrument tonal textures and timbres are well captured, which shows excellent microphone placement. There are demo scenes that are sure to push your system to threatening levels. When Vaughn, MacLaren, and Annie Garrett are caught in a snow storm coming up the mountain, you are surrounded by blowing snow, wind, and the film score going full bore, and each clear as a bell. The avalanche scene will push your subwoofer over the edge (no pun intended), and will challenge your speakers ability to sort out the dense complexity of this mix. When the rescue team helicopters up the mountain, you feel like you are actually in the helicopter as you can hear blade wash coming from all around you with height information exhibited as well. When they arrive at the cliff that gets them up the mountain, the sheer level of sonic bombast is clean, clear, with music and effects layered nicely all around you. Nothing steps on anything else. Another great scene that has cool spatial effects is when the Pakistani army fires its guns at the Indian Army. The blast originates from the left surround, travels down the side wall, and ends up in the front left speaker. You could almost track its travel the effect is so precise. The LFE channel is used prominently in this mix, nicely complimenting the already high levels of bass coming from the front three channels, and surrounds on occasion. This mix uses the side and rear walls aggressively, making for a very transparent sounding immersive mix. The soundtrack was originally mixed in 7.1 with five front speakers, left and right surround, and an EX encoded rear center channel. I got a chance to hear it in Sony’s Cary Grant theater in its full glory, and it is nice to hear the 5.1 fold down seemingly not missing a thing spatially, or in power from the original 7.1 mix. I would recommend that any student of film sound listen to this soundtrack. It is an excellent example of how to mix a soundtrack without distracting the listener with unnecessary pans, and sonic clutter. At times it is front loaded as it should be. Remember, we are supposed to be watching the screen, not constantly looking to the side or behind us because a loud effect travels in those directions. Bob Beemer and Scott Millan deserve major kudos for their re-recording skills on this mix. Vertical Limit Blu-ray, Forum Discussions
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