黑客帝国3 [4K蓝光原盘 自带中字] The Matrix Revolutions 2003 2160p BluRaycd HEVC TrueHD 7.1 Atmos-COASTER 62.74GB

The human city of Zion defends itself against the massive invasion of the machines as Neo fights to end the war at another front while also opposing the rogue Agent Smith.


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* F2 \/ t, T5 t◎译　　名　黑客帝国3：矩阵革命/骇客任务完结篇：最后战役/廿二世纪杀人网络3：惊变世纪
2 m( u/ l8 S$ |- _; R◎片　　名　The Matrix Revolutions
& i: L6 E9 o; e# q" S. S◎年　　代　2003
◎国　　家　美国/澳大利亚
◎类　　别　动作/科幻
4 c6 K" N0 ^/ K' s◎语　　言　英语/法语
◎上映日期　2003-11-05(美国/中国大陆)
◎IMDb评分  6.7/10 from 404,039 users
) K" b1 ?" K/ c& c) g$ [# T◎IMDb链接  https://www.imdb.com/title/tt0242653/
7 n' `" }/ Q& Y- j◎豆瓣评分　8.6/10 from 180,810 users
◎豆瓣链接　https://movie.douban.com/subject/1302467/
4 i/ D/ ~1 b0 Y# ^' h" W◎文件格式　x265 + TrueHD
◎视频尺寸　3840 x 2160
' e9 v2 ^$ w+ w: I◎文件大小　1DVD 62.74 GiB
4 ?0 i, U3 T- d7 U: i8 d# ^◎片　　长　2:09:15.831 (h:m:s.ms)
◎导　　演　莉莉·沃卓斯基 Andy Wachowski
2 m6 n& t9 N4 V9 x! z5 Q  Y　　　　　  拉娜·沃卓斯基 Larry Wachowski
◎编　　剧　莉莉·沃卓斯基 Andy Wachowski
　　　　　  拉娜·沃卓斯基 Larry Wachowski
7 E" P2 D+ m- Y◎主　　演　基努·里维斯 Keanu Reeves
　　　　　  劳伦斯·菲什伯恩 Laurence Fishburne
　　　　　  凯瑞-安·莫斯 Carrie-Anne Moss
$ K5 N% y/ a4 S9 V' M; F　　　　　  莫妮卡·贝鲁奇 Monica Bellucci
) l( _, t6 n0 L. L( c　　　　　  凯特·宾汉 Kate Beahan
　　　　　  雨果·维文 Hugo Weaving
　　　　　  贾达·萍克·史密斯 Jada Pinkett Smith
, o% t$ Z" {' E4 ~' v　　　　　  邹兆龙 Collin Chou
1 c& H$ m" ^7 g3 F2 y; W: ^+ ]" E　　　　　  朗贝尔·维尔森 Lambert Wilson
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" m1 I/ P% Y" m2 l& o. M# n◎简　　介      

　　第二集中，尼奥（基努·里维斯 Keanu Reeves 饰）没有能从内部摧毁“母体”，他的身体在真实世界的飞船上陷于昏迷，思想却被困在介于“母体”和真实世界的中间地带，这个地方由“火车人”控制。墨菲斯（劳伦斯·菲什伯恩 Laurence Fishburne 饰）和崔妮蒂（凯瑞-安·莫斯 Carrie-Anne Moss 饰）等人知道了尼奥的情况，在守护天使的带领下， 找到了“火车人”的控制者梅罗纹奇，经过一番激斗，将尼奥救了出来。

　　此时，电子乌贼部队对锡安发起了猛烈的攻击，人类组织所有机甲战士展开顽强的抵抗，形势危在旦夕；尼奥和崔妮蒂驾驶了一艘飞船克服重重困难，到达机器城市，尼奥终于见到了机器世界的统治者“机器大帝”，双方谈判并达成了协议：尼奥除掉不受“母体”控制的史密斯，以换取锡安的和平。
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　　在“母体”中，尼奥和史密斯展开了关系人类生死存亡的最后决斗。

　　Neo. Trinity. Morpheus. They and other heroes stand on the brink of victory or annihilation in the epic war against the Machines in the stunning final chapter of the Matrix trilogy. For Neo, that means going where no human has dared - into the heart of Machine City and into a cataclysmic showdown with the exponentially more powerful renegade program Smith. The revolution is now: The Matrix Revolutions.

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　　第10届中国电影华表奖  (2004)
7 P7 F! z; p6 s. e' z　　优秀译制片奖(提名)
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The Matrix Revolutions 4K Blu-ray, Video Quality   


2 r9 O) L, R) `& ]% H0 N# B3 s8 mScreenshots 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 represent its visual subtlety.

According to information provided to me by a Warner Brothers source, this 2160p, HEVC/H.265-encoded UHD of The Matrix Revolutions is based on a new 4K scan of the original camera negative created by Warner's Motion Picture Imaging facility. Color correction and HDR grading were performed by MPI's senior colorist, Jan Yarbrough, and overseen by Bill Pope, director of photography on all three Matrix films. Reproduced below is the statement from Mr. Yarbrough regarding the first Matrix film, which was previously provided by the studio and (again, according to a Warner Brothers source) applies equally to the two sequels:

The Wachowskis have entrusted the creation of the HDR mastering with the original Director of Photography Bill Pope, ASC. Working with Bill I have come to realize that he has a full understanding and appreciation for the dynamics of the HDR format. The Matrix is created in two worlds: the "real" world in cool blue tones; and the "data" world in ever present green. Now with HDR, this film can be viewed in its futuristic and data centric realm more accurately than previous formats would allow. HDR with its huge dynamic range of luminance and color gamut allows for a true film gamma replication while adding additional dynamic range for accurate highlights and deep detailed blacks. DP Bill Pope has taken advantage of this to create a version with color timing as it was originally intended, crafting a high resolution digital master that is more accurate than the original theatrical release.

In Reloaded and Revolutions, the color distinction between the two realms of "data" and "real" no longer has to be disguised as carefully as it initially was in The Matrix, where the existence of alternate realities was a critical mid-film reveal. Viewers already know to look for the telltale greenish cast that suffuses the simulated world of the Matrix, in contrast to the warmer tones and bluish tinge of reality. That doesn't mean, however, that Messrs. Pope and Yarbrough haven't taken every opportunity to fine-tune the palette of the sequels to dial down the green wash of the "data" world and expand the palette of the "real" one. One of the most interesting examples in Revolutions is the Trainman's prison of a subway station (the "Mobile Ave" stop), where Neo awakens to find Sati standing over him. The spotless white tiles retain their greenish tinge, but it's just a faint tint, probably because this region, like the Architect's office, is something of a netherworld between the "real" and "data" realms (which is why Neo can be there even when he's not plugged in). And notice how the background acquires a subtle blue accent when Trinity arrives to rescue her man—a real-world burst of human emotion erupting into a machine-world construct.

1 T/ l0 f: Y2 r. O  d8 bA different side of Zion is explored in Revolutions, as the machines tunnel past the first line of defense, and all-out war ensues. The glowing blue and red lights of humming machinery explored in Reloaded give way to rows of steely APUs firing in bright yellow flashes, as they attack the invading hordes of mechanized "squids" (also steely and blue). Warmer earth tones dominate Zion's inner sanctums, where the Council and, eventually, the populace take refuge. The palette is wide and extensive, and all of the colors are precisely graded to provide a richly varied environment. By contrast, the Machine City that is Neo's destination and the Matrix as it has been taken over and remade by Agent Smith ("Like what I've done with the place?") are dark and limited in their range of hues. Still, wherever you look in the film, in either "data" or "real" scenes, the shadings and colors have become more refined and complex than in any previous video presentation I have seen, fully delivering on Mr. Yarbrough's characterization of the HDR master as "more accurate than the original theatrical release".
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The UHD's increase in resolution is a huge step up from both the prior Blu-ray and even the remastered 1080p version derived from the new 4K master. Fine detail of faces and textures in clothing is strikingly present in closeups. In long shots of scenes crowded with people and machinery, even those that have been CG-enhanced, the definition and sense of depth are extraordinary. For excellent examples, look at the row upon row of APUs lined up to repel the machine invasion, or the interior of the giant council chamber when Commander Lock delivers his grim report; the individual figures remain distinct even in the most expansive vistas. Similarly, the vast reaches of the Machine City, as Neo and Trinity approach their perilous destination, reveal subtleties and refinements not seen since the film first played in theaters (and maybe not even then). The ornate decor of the Merovingian's Club Hel is rendered with such a sense of tactile luxury that you almost don't mind encountering this absurd character for a second time (and note, by the way, how much the green tones have been overwhelmed by intense reds; Persophone's influence perhaps?). The scenes involving legions of Agent Smiths don't benefit from the improved clarity to the same extent as in Reloaded, because Neo's battle in this film is primarily a two-man face-off with Smith-in-Chief, with the rest looking on. The two combatants' final confrontation still can't help but look like the elaborate video game that, by this point in the trilogy, it has obviously become. Still, even the animation-style destruction in this over-the-top sequence gains new detail and definition in its 4K/HDR rendering.
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/ S# \; q% L  v- y2 ^) c0 E1 EIn sum, the new presentation of Revolutions matches the visual quality of the two preceding Matrix UHDs at every turn. Whatever one's opinion of the film, this 4K/HDR version of the trilogy's conclusion represents the UHD format at its finest. (The disc also contains Dolby Vision encoding, which will be the subject of a separate review.)

8 s% m% Y' f1 f3 U' RThe Matrix Revolutions 4K Blu-ray, Audio Quality   

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Let's begin with the stupid disc authoring, which plagues all three discs in The Matrix trilogy and appears to be a now-established standard practice at Warner Brothers. You have to wonder whether the executives in charge of these projects actually play UHD discs, or if these titles are just more "product" on their balance sheets.

In the early days of Blu-ray, when lossless audio was a relatively new phenomenon, Warner opted to have its Blu-ray discs default to a lossy Dolby Digital track that would play on pretty much any variety of equipment that existed in 2006. If the disc happened to offer lossless audio—Warner preferred Dolby TrueHD in those days—you had to make a point of selecting it. This was particularly problematic with Warner's early Blu-rays, because they began playing the main feature immediately. You had to select the popup menu and switch tracks mid-film at whatever point you remembered (or realized) that you were hearing an inferior sound presentation. It's worth stressing that Warner was the only major studio to implement this design; Blu-rays from every other studio defaulted to lossless audio, and people somehow managed to play them without issue (probably because the lossless formats were designed to be backward-compatible, as is Dolby Atmos).
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2 j% V* ]8 b" rWell, at Warner Home Video, it's 2006 all over again. Each of the three Matrix films defaults to lossy Dolby Digital 5.1, and the only advance from the early days is that the discs start with a menu instead of immediately playing the feature. But if you don't remember to cursor over to the "Audio" section and change the soundtrack, you won't get the new Dolby Atmos mix. This anachronistic authoring choice—and make no mistake; it's a choice—applies to both the UHD and the remastered 1080p Blu-ray, which also features the new Atmos remix. And once again, Warner is the only studio to routinely adopt this practice of defaulting to a lesser audio track—here, a lossy one—which is just as technologically inept today as it was in 2006.

Once you've selected Atmos, you'll be treated to a remix of the same careful and deliberate quality as appears on The Matrix and Reloaded UHDs. The layers of sound aren't different, just better, with each element of the elaborately engineered sonic environment distinctly audible without being popped out to the point of distraction. The Mobil Ave subway station is a marvel of quietude, with only distant train sounds underpinning Neo's encounter with Sati and her family. (When the Trainman's transport does finally arrive, it's thunderous.) The battle when Trinity, Morpheus and Seraph first penetrate the Merovingian's Club Hel rivals the first film's famous lobby shootout, with its symphony of weapons fire, bullet hits and crumbling masonry. The interior of Club Hel itself offers a careful balance of crowds and music surrounding a fraught confrontation between the three rescuers and the Merovingian with his minions. And of course the two grandest audio set pieces are the machines' attack on Zion (pulsating weapons fire, massive explosions, groaning collapses of weighty structures) followed by Neo's final battle with Smith, which is an odd concatenation of real sounds of destruction with artificial effects that suggest a video game come to life (which is essentially what Smith and Neo have become).

Dialogue remains seamlessly integrated and perfectly prioritized, and Don Davis' scoring and songs are just as vividly rendered as on The Matrix and Reloaded UHDs. There's never a moment in Revolutions when something interesting isn't happening on the soundtrack, even if it's quiet. The UHD's remix is Atmos done right, and the more speakers your system has to assist in the object-based placement of the effects, the better it will sound.


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