黑客帝国1/骇客任务 [4K蓝光原盘 自带中字] The Matrix 1999 2160p BluRaycd HEVC TrueHD7.1 Atmos-COASTER 64.61GB

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1 N( `8 m/ Y8 H/ N◎译　　名　黑客帝国/廿二世纪杀人网络(港)/骇客任务(台)
◎片　　名　The Matrix
" M' M2 h; G0 b* I◎年　　代　1999
" p( G6 r9 g5 w, r3 \! A3 n& {◎国　　家　美国/澳大利亚
◎类　　别　动作/科幻
2 A6 d- i% t3 _- m6 o2 i1 i, I◎语　　言　英语
◎上映日期　1999-03-31(美国)
3 I* M: o4 G0 p% s  l: \6 z◎IMDB评分　8.7/10 from 1,400,324 users
& W, s' m& s( a' A2 v) ?$ h+ h5 ?◎IMDB链接　https://www.imdb.com/title/tt0133093/
◎豆瓣评分　8.8/10 from 310,360 users
◎豆瓣链接　https://movie.douban.com/subject/1291843/
% x$ E" t: b  f3 K◎文件格式　x265 + TrueHD 7.1
◎视频尺寸　3840 x 2160
◎文件大小　1DVD 64.61 GiB
4 N2 s- s: x6 W8 Y* c6 L# J◎片　　长　2:16:18.670 (h:m:s.ms)
4 X4 ?8 h% S6 o" g2 \+ e: q; ~◎导　　演　莉莉·沃卓斯基 Lilly Wachowski
　　　　　  拉娜·沃卓斯基 Lana Wachowski
2 j' X7 q, e/ D◎编　　剧　莉莉·沃卓斯基 Lilly Wachowski
　　　　　  拉娜·沃卓斯基 Lana Wachowski
  a) d1 V5 r0 h# O% x6 A* L6 w◎主　　演　基努·李维斯 Keanu Reeves
　　　　　  凯瑞-安·莫斯 Carrie-Anne Moss
% Q+ u% w, K5 d* g1 ^, T　　　　　  劳伦斯·菲什伯恩 Laurence Fishburne
　　　　　  雨果·维文 Hugo Weaving
　　　　　  格洛丽亚·福斯特 Gloria Foster
　　　　　  乔·潘托里亚诺 Joe Pantoliano
　　　　　  Marcus Chong
　　　　　  Julian Arahanga
　　　　　  Matt Doran
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  m8 x3 x+ I& {        In the near future, a computer hacker named Neo discovers that all life on Earth may be nothing more than an elaborate facade created by a malevolent cyber-intelligence, for the purpose of placating us while our life essence is "farmed" to fuel the Matrix's campaign of domination in the "real" world. He joins like-minded Rebel warriors Morpheus and Trinity in their struggle to overthrow the Matrix.

        不久的将来，网络黑客尼奥对这个看似正常的现实世界产生了怀疑。他结识了黑客崔妮蒂，并见到了黑客组织的首领墨菲斯。墨菲斯告诉他，现实世界其实是由一个名叫“母体”的计算机人工智能系统控制，人们就像他们饲养的动物，没有自由和思想，而尼奥就是能够拯救人类的救世主。

　　可是，救赎之路从来都不会一帆风顺，到底哪里才是真实的世界？如何才能打败那些超人一样的特勤？尼奥是不是人类的希望？这是黑客的帝国，程序和代码欢迎大家的到来。
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6 S, A# X4 V! H2 L# p3 x        Thomas A. Anderson is a man living two lives. By day he is an average computer programmer and by night a hacker known as Neo. Neo has always questioned his reality but the truth is far beyond his imagination. Neo finds himself targeted by the police when he is contacted by Morpheus a legendary computer hacker branded a terrorist by the government. Morpheus awakens Neo to the real world a ravaged wasteland where most of humanity have been captured by a race of machines that live off of the humans' body heat and electrochemical energy and who imprison their minds within an artificial reality known as the Matrix. As a rebel against the machines Neo must return to the Matrix and confront the agents: super-powerful computer programs devoted to snuffing out Neo and the entire human rebellion.

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1. DISC INFO:
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8 b. V. L4 f' s, p& @7 J/ lScreenshots accompanying this review are taken from the remastered 1080p standard Blu-ray.While these images give some sense of the 4K disc's appearance, they cannot hope to representits visual subtlety. Watch for 4K screenshots at a later date.
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This 2160p, HEVC/H.265-encoded UHD of The Matrix is based on a new 4K scan of theoriginal camera negative created by Warner's Motion Picture Imaging facility. Colorcorrection and HDR grading were performed by MPI's senior colorist, Jan Yarbrough, andoverseen by Bill Pope, director of photography on all three Matrix films. Warner Brothers hasprovided the following statement from Mr. Yarbrough, which is reproduced with the studio'skind permission:

$ `5 j8 D; f+ |0 a, i, y/ i        The Wachowskis have entrusted the creation of the HDR mastering with the original Director of PhotographyBill Pope, ASC. Working with Bill I have come to realize that he has a full understanding and appreciationfor the dynamics of the HDR format. The Matrix is created in two worlds:  the "real" world in cool bluetones; and the "data" world in ever present green. Now with HDR, this film can be viewed in its futuristicand data centric realm more accurately than previous formats would allow. HDR with its huge dynamic rangeof luminance and color gamut allows for a true film gamma replication while adding additional dynamicrange for accurate highlights and deep detailed blacks. DP Bill Pope has taken advantage of this to create aversion with color timing as it was originally intended, crafting a high resolution digital master that is moreaccurate than the original theatrical release.
One of the recurrent criticisms of the Matrix's original Blu-ray (and, before it, the DVD) was thepervasiveness and intensity of the green tint cast over the "data" world. The 4K disc effectivelyaddresses such complaints by fine-tuning the green cast and limiting its reach. The difference isevident from the opening Warner Brothers and Village Roadshow logos, which were previouslysolid green and are now a combination of green with black-and-white. The refinements continuein the signature opening sequence where Trinity fights the police and flees the agents. Theenvironment still has multiple green elements, but now other hues are also visible, including afew blues. The stylized wash that used to cover every shot is no more. For a particularlyrevealing example, look at the scene where Agent Smith rams a truck into the phone booththrough which Trinity makes her escape (see screenshot 38). Only the phone booth is green,while the smoke surrounding the truck is a combination of white and blue—and the pavementlooks like authentic city asphalt with just a few tell-tale green highlights. To borrow JanYarbrough's phrase, green is "ever present"—but it isn't everywhere.
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The same careful balancing of color tones is evident throughout the entire film, with greenelements tucked into the corners of the bluish "real" world and numerous shades other than greenvarying and contrasting with the overall tint of the "data" world. Outdoor daylight scenes insidethe "data" world are almost naturalistic, except for tiny giveaways like the greenish highlights onthe faces and hair of Neo and his cohorts. That sickly cast disappears in the "real" world,replaced by naturalistic flesh tones—except, of course, when faces are masked in darkness,shadow or the reflections from computer monitors. Study any shot, and it quickly becomesapparent that its colors have been painstakingly shaded and balanced to maintain the separation ofthe film's two worlds without overstating their difference.
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The detail is superb, whether it's the pores and skin textures in character closeups, or the grungyjerry-rigged machinery inside the Nebuchadnezzar, or the shards of masonry flying in alldirections during the lobby assault by Neo and Trinity. The vast fields of human hibernation podswhere Neo awakens have acquired new depth and definition. The clarity is almost digital. Onlytiny vestiges of grain reveal The Matrix's origination on film.
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The Matrix is a melange of visual styles, and the deep blacks of its 4K/HDR presentation havegiven new intensity to the film's pervasive noir elements, which alternate so effectively with theshiny officer towers and bright daytime scenes photographed on the streets and rooftops ofSydney. The film is replete with darkened alleys and back streets, deserted subway stations andshady motels like the Heart O' the City—locales that are now more atmospheric than ever,thanks to inkier darkness, more precisely delineated shadows and more finely textured surfaces.The sequence in which Morpheus and his crew attempt to escape from Smith by climbing downthe ancient plumbing of their hotel rendezvous isolates the band of adventurers in a barely litchannel surrounded by the blackness of oblivion. A similar effect occurs when Neo and Trinityclimb atop the elevator and blow its cable to reach the rooftop above Morpheus and the agents.The images are as striking as the moments are suspenseful.
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The selections described above are just a few examples of the many familiar scenes newly revivedby the magic of HDR, artfully applied. The Matrix on UHD is a tribute to what can be achievedwhen art and technology collaborate with due respect for one another.
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! Y' c  l% ^) s% r4 B6 T[System professionally calibrated using (a) a Klein K-10A Colorimeter with a Custom Profilemade in CalMAN using a Colorimetry Research CR250 Spectroradiometer; (b) Murideo FrescoSIX-G UHD signal generator with HDR10 and Dolby Vision capability; and (c) SpectraCalCalMAN Software v. 5.8.2.85. Calibration performed by Kevin Miller of ISFTV.]

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4 u- q* R7 h1 S$ y( TWhether in lossy Dolby Digital or lossless Dolby TrueHD, The Matrix's 5.1 soundtrack has longbeen home theater demo material, but that mix has now been surpassed by a Dolby Atmos remix,which appears on both the 4K UHD and the remastered Blu-ray. (The sound specificationsprinted on the back of the case list the Blu-ray as only "Dolby TrueHD English 5.1", which isincorrect.) The Matrix won well-deserved Oscars for Sound and Sound Effects Editing, and muchof the original team in the Warner sound division returned to revisit their work, pulling theoriginal stems and effects from the archive and using the expanded capabilities of Atmos' object-based system to bring the film's sonic universe to life in ways that could not be achieved when itwas initially released.
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It's worth stressing, however, that this is not the kind of controversial remix that adds new effectsor attempts to alter the dimensions of the sonic field with which fans have lived for the pastnineteen years. The bullets that Neo dodges don't suddenly travel farther or reverberate in newdirections, and the helicopter with which Morpheus is rescued doesn't acquire a new andunfamiliar flight path. The hallmark of this Atmos remix is fidelity to the original sound design,except that it is now rendered more distinctly in every aspect and in all directions. Individualeffects that once blended into the film's layered waves of sound now stand out on their own, eachone separate but appropriately prioritized.
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Nowhere is this effect more evident than in the film'spropulsive final act, which is a continuous sonic assault from the moment Neo and Trinity openfire in the lobby of the government building from which they rescue Morpheus. The lobbyshootout is a symphony of bullets firing, shells ejecting, masonry shattering and body blowsconnecting, all to the accompaniment of Don Davis' pounding score—and I have never beforeheard each single element with such sustained clarity and intensity. The same is true ofMorpheus' rescue by helicopter, with whirring blades, repetitive mini-gun fire, shattering glass,splashing water and rapid bullet hits, all registering with equal force and precision. Take anyaction scene in the film, and you will be able to hear things that you've always known were therebut your ear could never latch onto so easily as the Atmos mix allows it to do.

' l. q% f  S  @+ u, a$ ^* zThe dialogue remains as clear as it always was, and the distinctive organic sounds of the "real"world, whether the loud ones of Neo's rescue or the quieter ones of his gradual rehabilitation,have acquired a new immediacy. Davis's distinctive instrumentals and the film's eclectic mix ofsongs are more vividly rendered than ever.
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One small note of warning: Be sure to select Atmos from the main menu before starting the film.Otherwise, you'll get Dolby Digital 5.1. For reasons that pass all understanding, Warner stillrefuses to make Atmos the default track on its UHDs and Blu-rays.
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