黄金三镖客 [4K蓝光原盘] The Good the Bad and the Ugly 1966 2160p BluRaycd HEVC DTS-HD MA 5.1-EATDIK 89.16GB

A bounty hunting scam joins two men in an uneasy alliance against a third in a race to find a fortune in gold buried in a remote cemetery.


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◎译　　名　黄金三镖客/独行侠决斗地狱门(港)/黄昏三镖客(台)/善恶丑/好·坏·丑/好家伙，坏家伙，丑家伙
" o, \* U7 e7 Q' B◎片　　名　Il buono, il brutto, il cattivo. / The Good, the Bad and the Ugly
◎年　　代　1966
7 }+ D0 ]: b& A! {◎产　　地　意大利/西班牙/西德
◎类　　别　西部/冒险
◎语　　言　意大利语/英语
◎上映日期　1966-12-23(意大利)
( B8 X( U# _# K. {4 x◎IMDb评分  8.8/10 from 697,932 users
◎IMDb链接  https://www.imdb.com/title/tt0060196/
' e7 N, w2 {4 q% F. ]◎豆瓣评分　9.2/10 from 95,867 users
, U' l( U/ a0 a& A0 ?2 ^◎豆瓣链接　https://movie.douban.com/subject/1401118/
; w  c. v6 A4 _' i0 o7 S◎文件格式　x265 + DTS
/ b2 v7 `) v7 v) Y% R7 \- r◎视频尺寸　3840 x 2160
5 S" {3 i% V+ E' k8 [◎文件大小　1DVD 89.16 GiB
◎片　　长　2:41:50.543 (h:m:s.ms)
◎导　　演　赛尔乔·莱昂内 Sergio Leone
◎编　　剧　阿杰诺雷·因克罗奇 Agenore Incrocci
　　　　　  富里奥·斯卡佩利 Furio Scarpelli
% n) e* Z6 E: A　　　　　  卢恰诺·温琴佐尼 Luciano Vincenzoni
) `5 F# M* f% p" I3 ]" Y* w9 g　　　　　  赛尔乔·莱昂内 Sergio Leone
◎主　　演　克林特·伊斯特伍德 Clint Eastwood
　　　　　  埃里·瓦拉赫 Eli Wallach
# [' }- i; R' A4 |, {　　　　　  李·范·克里夫 Lee Van Cleef
　　　　　  阿尔多·久弗瑞 Aldo Giuffrè
　　　　　  路易吉·皮斯蒂利 Luigi Pistilli
+ r- \! \+ Z/ C. j3 c　　　　　  Rada Rassimov
& v8 y' T6 m; y6 h! F　　　　　  马里奥·布雷加 Mario Brega
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) \9 u4 q! ?0 R* G) @) h◎标　　签　西部片 | 西部 | 经典 | 克林特·伊斯特伍德 | 意大利 | 黄金三镖客 | 美国 | 1966

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2 ^* y1 a6 d/ t$ P5 j- p3 \8 G! [8 E　　故事发生在美国南北战争时期。图科（埃里·瓦拉赫 Eli Wallach 饰）是一个图财害命的江洋大盗，因此他被镇上悬赏通缉。布兰迪（克林特·伊斯特伍德 Clint Eastwood 饰）是一个除暴安良的牛仔，他无意中抓住了图科，但嫌赏金不够又掳走了他。在荒漠中，布兰迪惩罚图科让其自生自灭。但是诡诈的图科居然逃过了一劫，并纠集一些帮凶在客栈捉住了布兰迪。正当图科以牙还牙折磨布兰迪的时候，他劫持了一个名叫卡森的士兵。后者临死前留下了宝藏的秘密，图科和布兰迪分别获得了一半信息。与此同时，一个狡猾的杀手桑坦萨（李·范·克里夫 Lee Van Cleef 饰）也通过其他渠道发现了宝藏的秘密。于是，在寻宝的道路上，三个人使出浑身解数，上演了一场场对决的好戏……

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1. DISC INFO:
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3. Disc Title:     The.Good.the.Bad.and.the.Ugly.1966.2160p.BluRayCD.HEVC.DTS-HD.MA.5.1-EATDIK
   
4. Disc Size:      95,709,169,533 bytes
   
5. Protection:     AACS2
   
6. Extras:         Ultra HD
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7. BDInfo:         0.7.5.9 (compatible layout created by DVDFab 12.0.2.6)
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12. Length:                 2:41:50.543 (h:m:s.ms)
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13. Size:                   82,968,723,456 bytes
    
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27. DTS-HD Master Audio             English         1561 kbps       2.0 / 48 kHz / 1561 kbps / 16-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 16-bit)
    
28. DTS-HD Master Audio             English         1557 kbps       2.0 / 48 kHz / 1557 kbps / 16-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 16-bit)
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34. Presentation Graphics           English         13.281 kbps

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The Good, the Bad and the Ugly 4K Blu-ray, Video Quality   


The screencaptures that are included in our review appear in the order described below. Also, keep in mind that the screencaptures from the 4K Blu-ray are downscaled to 1080p and are not representative of the actual quality of the 4K content.
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7 F9 }2 v2 ?3 f8 K6 {Screencaptures #1-28: 4K Blu-ray release.
5 j# D0 l' S, m4 _1 ?Screencaptures #31-40: Blu-ray release.

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  M2 {8 Q1 r/ u) ?$ ~# R3 MBefore I discuss the extensive new color grading job that was completed by the folks at Kino Lorber, I would like to address the other key qualities of the presentation. On my system density levels and fluidity were very, very pleasing. In a lot of areas the backgrounds were so much better now that at times it felt like the entire film was redone from scratch. I specifically would like to mention the vastly superior dynamic range of the visuals, which brings back an organic appearance that was completely lost on L'Immagine Ritrovata's graded master that was used for previous Blu-ray releases of the film in the United States and abroad. Image stability was outstanding. The entire film looked very healthy as well.

The new color grading is essentially a big 'rescue project' that was initiated to fix another party's errors. The folks at Kino Lorber announced that over thirty hours of shot-by-shot grading corrections were performed, and I think that if you have seen their previous Blu-ray release you will immediately recognize the tremendous progress that was made with them. For example, plenty of the indoor and darker footage looks vastly superior, though this did not surprise me at all because just by normalizing the dynamic range of the visuals a significant overall improvement is guaranteed. All ranges of blacks are very clearly superior as well, so the perception of depth becomes quite different, but at least on my system it looked like shadow definition could have been handled better. Now, while the film's new appearance is a lot more attractive, it still has plenty of inconsistencies and entire color values that are off. I am going to highlight some, but I would like to state that given the nature of the 'rescue project' this was practically unavoidable. So, a lot of the daylight footage retains different variations of the problematic yellows and greens that are present on L'Immagine Ritrovata's graded master. I could easily tell that a lot of careful work was done to either suppress or eliminate them and get an overall better color balance, but the negative effects are still detectable. There are a lot of unnatural skin colors; a lot of supporting nuances, and especially ranges of darker ones, that are off; and even plenty of unnatural highlights that disturb the visual balance of the original cinematography. (You can see examples in screencaptures #1, 11, and 25). Elsewhere saturation level can be off as well, frequently causing different and much bigger inconsistencies. For example, a cigar smoke can appear oddly colored (see the very heavy blues in screencapture #16), or an entire segment can have wrong and/or oversaturated primaries (see the very strong and unnatural greens in screencapture #23). In other words, while there are plenty of nice improvements, in different areas throughout the film there are small and big inconsistencies that can produce some very unusual anomalies as well. Ultimately, at present this is the best technical presentation of the film on the home video market, but I think that it is not the definitive presentation of the film. (Note: The Theatrical Version, which is the only one on this release, features approximately ten seconds of footage that is not present on the Extended Version. It was sourced from a 4K scan of a 1967 35mm IB tech print).

BLU-RAY DISC
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/ }( P8 k! }9 y0 d5 h- a' XThe basics again look very solid and I would immediately recommend this presentation of the film as the best one that we currently have on Blu-ray. On my system, delineation, depth, clarity, and fluidity were very pleasing. What about the color balance? Again, I have the same reservations for the areas where the effects of the previous grading job are noticeable. This should not be surprising because the 4K Blu-ray release does not utilize a unique color grading of the type seen on other releases that feature Dolby Vision and/or HDR presentations of the same content. (Note: This is a Region-A "locked" Blu-ray release. Therefore, you must have a native Region-A or Region-Free player in order to access its content. The 4K Blu-ray release is Region-Free).

0 V3 x# @' |" |( f# r7 \' AThe Good, the Bad and the Ugly 4K Blu-ray, Audio Quality   

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There are two standard audio tracks on this Blu-ray release: English: DTS-HD Master Audio 2.0 Mono (48kHz, 16-bit) and English: DTS-HD Master Audio 5.1 (48kHz, 16-bit). Optional English SDH subtitles are provided for the main feature. When turned on, they appear inside the image frame.

The Mono track is new. The folks at Kino Lorber restored it after going back to the LD edition of the film that MGM produced in 1993. This is the audio track I used to view the film on 4K Blu-ray.
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While the Mono track lacks the broad dynamic field that you would get from the 5.1 track, I still think that it produces dynamic contrasts that are solid. It is clean and healthy as well. Predictably, it reveals greater fluctuations in terms of overall balance, especially during mass sequences, but as far as I am concerned this is a typical production limitation. (It has absolutely nothing to do with the manner in which the audio was transferred from the LD).

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