'Twister' - High-Def Digest Review - Page 5 - High-Def Digest Forums
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  #41  
Old 05-13-2008, 11:38 PM
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Default Audio good but not blown away ....

I'm not sure what others will say but I was looking forward to this "popcorn flick" and comparing it to the fairly awesome (audio wise) special edition's full-on 1.5mb DTS track.

The video is far superior on the blu-ray. I was glad of that. Still not a bright and lively film but definitely looks better.

However, the audio both the default DD and the DD TrueHD tracks just do not compare to the freight-train tornado in your room boom of the DTS audio track on the DVD.

I tried experimenting by playing the DTS track from the DVD from my PS3, first LPCM (and that sound good) and then bit-streaming the DTS track (and that sounded AWESOME!!!!!!!), then I played the Blu-ray first with DD bitstream and it was boring and dull to say the least and the TrueHD track via LPCM was much better but miles behind the DVD's DTS track .... if they could just change the audio format on this blu-ray title to a DTS MA track based on the same dynamics of the DVD DTS track .... then this would be by far one of the boomiest and best 'hang on to your seats' discs around ...

I'm frankly disappointed. I use Sony ES Receiver with HDMI from PS3 output for my blu-ray. Most other Blu-ray audio tracks are much improved over DVD audio tracks but not this one .....
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  #42  
Old 05-14-2008, 02:30 AM
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Default lousy audio

is it just me or is it for real.

this is the WORST sounding audio i ever heard. is this a defective transfer or did i get a bad disk ? have HIGH end 805/Polk setup and Audio especially uncompressed sounds mind blowing but the audio here was worse than any standard dvd. very poor, could hardly feel anything not loud, no dynamic range,lfe or anything in either dolby truehd or regular 5.1
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  #43  
Old 05-14-2008, 03:13 AM
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Some interesting tidbits on Twister.

http://www.avsforum.com/avs-vb/showt...3#post13856843

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hank you for the invitation, but I may have to watch it again to be able to do that. I watched it Friday night, but there were a lot of interruptions that evening, and I actually got a bit lost in just enjoying the movie again in all its big screen glory.

I was particularly impressed with close-ups and the aerials.

Watching dailies on this movie was a little strange because so many shots would eventually have cgi in them. But overall, the BD on the big screen looks very much like what we saw in dailies. I would really have to nit pic to find problems.

I'm surprised that they have never "removed" the helicopter reflection in the side of Bill's truck in the first shot with it. It appears very noticably in the last few moments of the shot as the helicopter got up quite close to the truck.

Most of the movie was shot in the vicinity of Ames, Iowa and Gorman, OK. It was the deadly hot summer and drought of 1995. There was only one cloudy stormy day in all our time in Iowa. They did get some cloudy weather for some scenes seen early in the movie. So, we had the unpleasant problem of shooting a movie about storms with constant sunny weather. The "Hailstorm Hiil" sequence took two weeks to shoot because we could only shoot for about half the morning while the road was in the shadow of the big hill on the east side of the road. The back window of Bill's pickup was NDed down to make it look dark, and a lot of light pumped into the windshield from the towing Shotmaker vehicle. We had to wear hats that had back flaps to protect our neck and heads from the heat of those lights. One day Bill and Helen were sitting in the truck waiting and chatting about their eyes feeling scratchy and they were clearly having to squint too much. Turns out their corneas got UV burns from the lights. They took a couple of days off to recover and the light intensity was reduced.

A second unit traveled about the country trying to find storms and provide the few stormy shots for POVs and establishing shots.

This movie was a bit of a milestone for ILM. It was the first film to permit hand held shots that were to have CG elements. A special down-sized Vista Vision camera was used for this. Jan operated all the hand-shots himself. There was quite the hubbub between Jan and ILM over shaking of the camera by we operators. Jan insisted that we shake the camera in the storm sequences. ILM didn't want that to be done with any shot that would have CG because it complicates things for them. They have to remove the shake from those shots, add the CG elements, then re-create the shake. Jan was very specific about this shaking technique. He taught us how to do it. I know it sounds silly, but you'd be surprised at how bad your first attempt at that looks. The camera is quite heavy, therefore resists the right kind of shaking. It was quite the peculiar new skill to use. It was the same technique I used the following year in the scene in Star Trek: First Contact that introduces Worf (a battle sequence on his ship's bridge), and later that year on Dante's Peak. It was very strange that for a time in that I was valued more for how I shook the camera than how smooth I was.

Bill, Helen, and Jamie were very professional yet lots of fun. Bill always had a football nearby to toss around with everybody. Apollo 13 was in theaters at that time, and he was very high on that. Helen was just very nice; zero star ego. Jamie was a joy and gorgeous in person. Her eyes were insanely dark...and Helen's a gorgeous blue and always a smile. Phillip was also friendly. I've not worked with him again, but we ran into each other at a shop in Vegas a few years ago and had fun catching up. Who would believe the actor who played the goofy Dusty in Twister would move on to become such an accomplished actor?

Virtually the entire crew quit five weeks into the movie in protest over the director's behavior. This is unheard of. WB got DP Jack Green to take over. I came in with Jack. It was a fortuitous event because our crew was the crew that could handle Jan and get the movie made; a great industry credit. Normally actors don't comment on such things, but Jamie Gertz thought particularly highly of us for this reason. Jan tamed his temper a bit, but this was one tough picture to make because of his demanding nature, the physical difficulty of the shoot, and the heat.

In the spring re-shoots the pressure was off Jan. He knew he had a hit on his hands, and he was as pleasant a director to work for as one could expect. Still, I got the call from Jack Green about the re-shoots, and I was the only operator who would return.

The most significant piece shot during re-shoots was part of the early scene where Bill and Mellissa have gone out to get the divorce papers signed. The re-shot portion begins with Mellissa's question "What is it?" and Bill and Jo climb up on the bed of her truck to explain the Dorothy. Phillip S. H. was not there for this re-shoot, so you will notice that any shots of Mellissa only include a piece of Dusty like his arm. It was a double, not Phillip. The re-shoot material of that sequence ends with the set-up where they hop off the back of the pickup and the camera drives up to a close-up of Bill with Jo and the team in the bg. The original shoot was in OK by the first crew. The re-shoot was done in the area north of Simi Valley. I've always been impressed that they found a location that so closely resembles the original.

In that location we also re-shot most of the dialogue between Bill and Jo as they are sitting on the floor of the destroyed well house near the end of the movie. I remember that is one the rare times in the movie we used a zoom lens for the dolly shot that starts that sequence and the rest of those shots. The rest of the movie is shot with the Panavision C-series primes, and E-series 180mm. These are the same lenses used for the upcoming Indiana Jones sequel.
Quote:
I took a closer look at a bit of the movie tonight while also taking a look at Master and Commander. I think that this movie looks about like all the other movies that are shot with this lens series. The only recent film I have seen in HD that used these lenses and looks better is Batman Begins and maybe Blade Runner. Fortunately lens improvements for spherical and anamorphics are making big strides. Anamorphic needs to be as sharp in HD as some of the fine Super 35 to 2.40 shows such as Casino Royale, Harry Potter, and Live Free or Die Hard.

I do think that skin tones and textures in some scenes in Twister have a an unnatural rosey hue. I also see some shots in which the blacks look a bit crushed. The first shots of Bill and Mellissa in the truck come to mind.

It is still a fine and enjoyable big screen experience now. I'll take it as is.
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  #44  
Old 05-14-2008, 11:55 AM
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Quote:
Originally Posted by GT72 View Post
I hate Warner, this movie is one of my favorites, but no Spanish audio track or subtitles

I will have to wait until a future format launch

:

Was that supposed to be a joke ??? Because it ain't funny.

Kudos to warner for not wasting precious disc space and bandwidth for less than useless audio and subtitles options.
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  #45  
Old 05-14-2008, 11:59 PM
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Default I wouldn't say it was THAT terrible ... but bland ...heck yes ...

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Originally Posted by matchan View Post
is it just me or is it for real.

this is the WORST sounding audio i ever heard. is this a defective transfer or did i get a bad disk ? have HIGH end 805/Polk setup and Audio especially uncompressed sounds mind blowing but the audio here was worse than any standard dvd. very poor, could hardly feel anything not loud, no dynamic range,lfe or anything in either dolby truehd or regular 5.1
I messed around sending the DTS 1.5mb audio track (special ed. dvd, not the new pos DD 5.1 version that just came out) and sent it PCM from my HD-DVD player it blew AWAY the DD TrueHD version as far as LFE and rumble ... sure, the affects are bit "muddled" but the rumble and whirl is what you want in this movie ... not technically perfect placement without the UMPH ....

My PS3 may be to blame .... I've found that most of the TrueHD titles are just OK .... uncompressed and DTS HD MA titles ROCK!!!!
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  #46  
Old 05-26-2008, 02:38 PM
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Wow. I just got done watching Twister. The picture quality is very impressive. It's a huge improvement over the DVD. For being released around the same time, Twister looks much better than ID4. I don't know how this only got 3.5 stars for PQ. I think it easily deserves 4.
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  #47  
Old 05-26-2008, 02:41 PM
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Quote:
Originally Posted by -diVe- View Post
Wow. I just got done watching Twister. The picture quality is very impressive. It's a huge improvement over the DVD. For being released around the same time, Twister looks much better than ID4. I don't know how this only got 3.5 stars for PQ. I think it easily deserves 4.
I totally agree. That's what i said earlier in this topic actually. Excellent picture quality.
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  #48  
Old 07-03-2008, 05:26 PM
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Got to watch this yesteday and yes while the picture quality was a definite improvement over the DVD and while there were moments when the picture was outstanding, there were several moments of inconsistency where the picture was soft. Still and all not too much to complain about.

Yes, the TRUEHD was pretty sweet!! Of course it's not on the level of a contemporary soundtrack recorded at 24bit resolution, but nonetheless still very sweet after 12 years.
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  #49  
Old 05-26-2011, 05:39 PM
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Nothing like the revive of a 3 year old. Nostalgia FTW!!

Alas there is a reason for it.

I got the North American release when it came out, PQ was OK, not great, or decent, just OK. Then I got the Aus/NZ release. HUGE difference, easily a 4 1/2 star PQ. Audio is just as good. But if you can find a deal for the Aus/NZ release (same as the UK release also I think?) Definitely make the switch. There is a very noticable upgrade with the picture.
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