Whether it's the inside of museums or churches, flying in planes, racing around in cars or running along the streets of Paris and London, the surround field creates a marvellous sense of location. The new sound design makes effective use of the overhead channel to help create a sense of environment. Sony Pictures are certainly to be congratulated for not only using a 4K source wherever possible but also ensuring that all their Ultra HD Blu-ray releases have Dolby Atmos soundtracks.
#DA VINCI CODE REVIEW CODE#
Steve Withers reviewed the audio using a 7.2.4-channel Dolby Atmos setup – Considering that The Da Vinci Code wasn't originally released theatrically with a Dolby Atmos soundtrack, this new mix is very impressive.
#DA VINCI CODE REVIEW FULL#
In all a terrific advert for the format and one that is a good step up from its Full HD counterpart.ĭespite not originally being released in Dolby Atmos, this is a great re-mix There is a good grain structure giving a nice organic feel to the piece with the flashbacks looking typically grainy. The source is clean and clear and is reproduced here with aplomb. Daylight is extremely realistic, and the again, the light pouring through the various stained-glass windows is a joy.ĭigitally there are no compression issues or any edge enhancement. Contrast levels are tremendous and attention to detail has been given to the gradations (unlike Watchmen) so that there is a decent transition from dark to light. As stated the film is already very dark, and the HDR really emphasises this, adding further depth to the frame and revealing even more shadow detail (particularly true of Lagdon’s dark suits). The included Full HD Blu-ray, by contrast, is slightly weaker in this regard with softer edges and less well defined images, but not so much that it is clearly obvious.Ī good step up from its Full HD counterpartĬolours are where things really improve and thanks to HDR and WCG the image shines flesh tones fair very well with a much richer colouring compared to Full HD, as do the gradations of red and blue. During the daylight hours, things improve with the bricks of buildings and pavements being particularly sharp but for my money it's the light burning though stain-glassed windows that is remarkable, with the lead drawing absolute sharpness around the coloured glass.
#DA VINCI CODE REVIEW SKIN#
Skin texture and clothing weaves are clear winners, while landscape establishing shots, night vistas mainly, are pin point sharp with the lights over the Paris skyline having clear and defined edges. The film is intentionally dark, most of it taking place over one night, and also soft at times but that does not, however, stop this presentation from being incredibly detailed.
We are reviewing the US release but the UK Ultra HD Blu-ray should be identical.
We reviewed the Region free US Ultra HD Blu-ray release of The Da Vinci Code on a Panasonic 65DX902BUltra HD 4K TV with a Samsung UBD-K8500 Ultra HD Blu-ray player. The film is presented with a 3840 x 2160p resolution and in a widescreen 2.40:1 aspect ratio, the disc uses 10-bit video depth, a Wider Colour Gamut (WCG) and High Dynamic Range (HDR), and is encoded using the HEVC (H.265) codec. It is this 4K DI that has been used here for this Ultra HD Blu-ray. The Da Vinci Code was shot on film using various Arricam cameras and the Super35 process in a 2.35:1 aspect ratio, scanned and finished as a 4K Digital Intermediate.