巨齿鲨/极悍巨鲨/麦格 [3D蓝光原盘] The Meg 2018 1080p 3D BluRaycd AVC DTS-HD MA5.1-FGT 38.20GB

◎译　　名　巨齿鲨/极悍巨鲨(港)/麦格
& r, h: a: n! {2 F- x◎片　　名　The Meg
7 z+ ~9 _3 i) `$ _9 g% X, t7 G◎年　　代　2018
2 ~$ ^  x$ O' q& h◎产　　地　美国/中国大陆/香港
# y8 W- b9 P4 G2 X; a9 I◎类　　别　动作/科幻/惊悚
◎语　　言　英语/汉语普通话/泰语
◎上映日期　2018-08-10(美国/中国大陆)
/ m% r! V% [* d! J◎IMDb评分  5.8/10 from 67,157 users
◎IMDb链接  https://www.imdb.com/title/tt4779682/
1 s! _; s* ]  e3 b◎豆瓣评分　5.8/10 from 110,668 users
8 T! i, I1 l, J* i* W1 ]◎豆瓣链接　https://movie.douban.com/subject/26426194/
0 q  E; g( \+ x  h2 Q◎文件格式　x264 + DTS
◎视频尺寸　1920 x 1080
◎文件大小　1DVD 38.23 GiB
◎片　　长　1:53:13.620 (h:m:s.ms)
3 X6 P" e/ X7 k% _4 y5 d  y◎导　　演　乔·德特杜巴 Jon Turteltaub
◎编　　剧　迪恩·乔格瑞斯 Dean Georgaris
　　　　　  乔·霍贝尔 Jon Hoeber
& G6 \0 L! z% D% W; o8 F4 `　　　　　  埃里希·霍贝尔 Erich Hoeber
　　　　　  史蒂夫·艾尔顿 Steve Alten
8 A7 R3 P! W4 K0 w◎主　　演　杰森·斯坦森 Jason Statham
( t: x1 w8 d# c2 A) ~2 m8 v　　　　　  李冰冰 Bingbing Li
　　　　　  雷恩·威尔森 Rainn Wilson
　　　　　  鲁比·罗丝 Ruby Rose
　　　　　  赵文瑄 Winston Chao
5 u/ W/ }) m$ B% l; R. V3 |　　　　　  佩吉·肯尼迪 Page Kennedy
: h' _& R* u; K# M9 X　　　　　  杰西卡·麦克娜美 Jessica McNamee
　　　　　  奥拉维尔·达里·奥拉夫松 Ólafur Darri Ólafsson
  N% c% K. M- o% p, b5 b# [' }  p　　　　　  罗伯特·泰勒 Robert Taylor
" W6 p/ K' B) w$ w+ C1 ?　　　　　  蔡书雅 Sophia Cai
　　　　　  丘增 Masi Oka
　　　　　  克利夫·柯蒂斯 Cliff Curtis
3 ]3 C: U( i- M+ K% H6 s+ N　　　　　  安佑森 Yoson An
3 G) g  m4 ?5 R: j; y, D0 [: z* F　　　　　  罗伯·基帕-威廉姆斯 Rob Kipa-Williams
& ~$ f. h* X/ A! ]  d　　　　　  维他亚·潘斯林加姆 Vithaya Pansringarm
: P" b; n5 d$ W　　　　　  安得烈·格兰杰 Andrew Grainger
5 J; w/ {' ~4 L　　　　　  蒂姆·王 Tim Wong
　　　　　  史蒂文·A·戴维斯 Steven A. Davis
5 O) \9 t5 A% u3 d- w　　　　　  托万达·马尼莫 Tawanda Manyimo
　　　　　  买红妹 Hongmei Mai

! H( ]) W& j5 F9 L◎简　　介      

5 P: a/ a; Z$ n3 ~/ j        After escaping an attack by what he claims was a 70-foot shark Jonas Taylor must confront his fears to save those trapped in a sunken submersible.
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　　一项由中国主导的国际科研项目，正在马里亚纳海沟深处进行时，遭遇未知生物攻击，科研人员被困海底。前美国海军陆战队深海潜水专家乔纳斯·泰勒受命前往营救，再度遭遇数年前曾经在深海给自己留下终身难以磨灭记忆的史前生物巨齿鲨。乔纳斯联手科研项目中的中国女科学家张苏茵成功营救了被困人员，但营救行动却意外造成了巨齿鲨逃离深海。当史前巨兽重返浅海，人类将为自己对大自然的贪婪付出惨重的代价......

. e" U" _$ C% O        When a submersible lies disabled at the bottom of the Mariana Trench, an expert deep sea diver is forced to confront his fears and risk everything on a single question: Could the Carcharadon Megalodon - the largest marine predator that ever existed - still be alive and on the hunt?

+ }4 W* M9 d5 d3 EThe Meg Blu-ray, Video Quality

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8 b4 C7 q9 ~% c( x- p) R# Q  g% KIn recent UHD reviews, I coined the term "Stupid Disc Authoring" to describe Warner'smastering of soundtracks. Well, SDA™ is alive and well on The Meg's sound options (more onthat below), but it has also spilled over into its video mastering as well. The film was captured onAlexa by cinematographer Tom Stern, taking another of his occasional breaks from shootingfilms for Clint Eastwood (starting with Blood Work in 2002). The film is full of brightly litlocations on seagoing vessels, in control rooms filled with TV and computer screens, and in thesubmerged transparent circular rings of Mana One. Even the dark underwater scenes are typicallypierced by bright lights of various undersea vessels—it's the light that catches the megalodon'sattention, although you would think that a creature who has spent millions of years in darknesswould be repelled rather than attracted. And of course the climactic sequence at Sanya Bay is aglittering holiday paradise.
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All of this bright lighting, matched with equally bright production design, should make for afantastic Blu-ray, and in fairness the image on Warner' 1080p, AVC-encoded standard version ofThe Meg looks pretty good, especially in closeups and medium shots, where the detail is well-rendered and the sharpness and blacks are superior. But get into longer shots (e.g., the panoramasof cheerful swimmers and beach jockeys at Sanya Bay), and the detail grows fuzzy. Even moretroubling is the faint layer of video noise that is a frequent visitor, especially in darker areaswithout the benefit of cold blue illumination (the opening rescue sequence has a lot of it). Thenoise is fine enough and sufficiently brief that it may go unnoticed, especially on smaller screens,but it's there all the same—and it shouldn't be. (It isn't on the UHD.)

The culprit is almost certainly a variation of SDA™ for which Warner became famous in theearly days of Blu-ray, when it was also supporting the competing HD-DVD format, with its discsof lesser capacity and its more limited bandwidth. Warner would typically create a single discimage for both formats, thereby failing to take full advantage of Blu-ray's capabilities, and thestudio was roundly criticized for it. After HD-DVD died off in 2008—killed by Warner itself,when it discontinued support—this particular application of SDA™ continued like a badhangover, as Warner stubbornly insisted on squishing films onto BD-25s with low bitrates thatroutinely resulted in weaker video images.

  |, F5 z8 q! [6 W3 ^2 R; cIn recent years, Warner's theatrical department appeared to be getting away from this practice,perhaps inspired by the example of the Warner Archive Collection, which routinely usesgenerous bitrates to maximize picture quality. But SDA™ comes roaring back with The Meg,which has a measly average bitrate of 19.02 Mbps, with peaks that rarely reach above 25 Mbps.Compressionists have gained enough experience to work around these limitations withoutgenerating the kinds of obvious errors that marred some of Warner's early efforts, but there'sonly so low you can go, even with a digitally originated project, which usually compresses morereadily, before the image begins to deteriorate. The Meg, with its many frantic action scenes andbusy frames, is a case in point (although the water in the underwater scenes hides a multitude of sins).
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" {! i5 X: J' n2 S. L) O- n, uBut here's the real crime: Warner has given The Meg this treatment despite placing the film on aBD-50 and leaving over 20 GBs of empty space on the disc. That's about 40% of the digital realestate simply wasted (if you calculate in binary). It defies all rational explanation that Warnercontinues to give some of its biggest box office successes the worst mastering, while lavishinggenerous bitrates on lesser properties (if not outright bombs) like Collateral Beauty, Life of theParty, 12 Strong and Geostorm. Even minor successes like Tag and Game Night get bettertreatment. The Meg looks fine on Blu-ray, but it could (and should) have looked great. My guessis that someone decided to save a little money by slapping the film's streaming version onto discwithout reauthoring the uncompressed master for Blu-ray's more expansive capabilities. It's thereturn of the same "lowest common denominator" mentality that gave us equivalent versions forBlu-ray and HD-DVD—a classic example of Warner's SDA™ at its finest.
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7 y# n8 f2 M# ~" a8 l' iThe Meg Blu-ray, Audio Quality


# J; i1 n9 N  ?/ O: L) [3 BWarner's SDA™  strikes again! (That's "Stupid Disc Authoring", for those who haven't read theVideo section.) The Meg has a wonderfully entertaining and immersive Dolby Atmos soundtrack,but it isn't the Blu-ray's default. Instead, the disc defaults to a redundant and unnecessary DTS-HD MA 5.1 track. Be sure to select the Atmos track before hitting "play". Even if yourequipment isn't Atmos-enabled, any system that can handle DTS's lossless format should be ableto handle the Dolby TrueHD to which Atmos automatically falls back. Warner remains the onlystudio to routinely include a useless DTS Master Audio track as an Atmos alternative, and some have speculated that it's the product ofa contractual obligation. If so, the contract must exempt catalog titles, because neither The MatrixTrilogy nor Superman features anything in DTS. (They default to Dolby Digital, which is just adifferent implementation of SDA™.)
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SDA™ aside, once you've got the Atmos playing, you'll be treated to a neatly organized andexpansive cacophony of water, wind, voices hollering from all sides (live and on speakers), theoccasional explosion and, of course, the whomping impact of the prehistoric shark rammingvarious objects, from submersibles to boats to the Mana One research facility. The dynamic range is broad, andthe bass extension is deep, but not so deep that it overwhelms the rest of the chaos. Tiny effectslike the toy that little Meiying rolls ominously through the facility's observation deck—you justknow something bad is about to happen—are precisely localized and reproduced at just the rightvolume to create the necessary effect. The dialogue is clearly rendered, and the action/adventurescore by Harry Gregson-Williams (The Martian, among many others) is neatly folded into themix. Gregson-Williams finds ways to hint at John Williams' famous Jaws theme without callingattention to the moment. It's a welcome touch of subtlety in a film that otherwise doesn't knowmuch in the way of "subtle".
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4. Disc Size:      41,049,257,984 bytes
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