机器战警2/铁甲威龙2 [欧版原盘 自带中字] RoboCop 2 1990 1080p CEE BluRaycd AVC DTS-HD MA 5.1-FGT 36.35GB

Cyborg law enforcer RoboCop returns to protect the citizens of old Detroit but faces a deadly challenge when a rogue OCP member secretly creates a new, evil RoboCop 2.


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◎译　　名　机器战警2/机械战警2/铁甲威龙2
◎片　　名　Robocop 2
◎年　　代　1990
7 [3 J; q9 {! I% P* ]" g◎国　　家　美国
◎类　　别　动作/犯罪/科幻/惊悚
, }/ n- }* h2 S, L1 F◎语　　言　英语
$ \8 m1 {+ o* m9 L◎上映日期　1990-06-22
! l( Q: E$ {( p1 E' W9 {◎IMDb评分  5.8/10 from 79,899 users
◎IMDb链接  https://www.imdb.com/title/tt0100502/
◎豆瓣评分　6.9/10 from 10,040 users
◎豆瓣链接　https://movie.douban.com/subject/1298574/
◎文件格式　x264 + DTS
◎视频尺寸　1920 x 1080
◎文件大小　1DVD 36.35 GiB
- r& K! D0 a, Q! z# D◎片　　长　1:56:40 (h:m:s)
◎导　　演　厄文·克什纳 Irvin Kershner
5 k! ?% P' m3 R3 j4 g) M9 b◎编　　剧　弗兰克·米勒 Frank Miller
' a: M6 j/ M+ X. r, H　　　　　  沃伦·格林 Walon Green
" m' A9 \; O3 Q' n9 `4 L◎主　　演　彼得·威勒 Peter Weller
+ g' {2 u5 w  D+ W8 v6 Q: U　　　　　  南茜·艾伦 Nancy Allen
　　　　　  加布里埃尔·达蒙 Gabriel Damon
　　　　　  莉扎·吉邦斯 Leeza Gibbons
1 f% C) a4 P( x, J8 M7 p8 Y　　　　　  布兰顿·史密斯 Brandon Smith
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◎简　　介
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- y0 Y6 z; M: x' S　　在这部续集中，生产机械战警的泛消费公司掌控着底特律城的治安，警察们因薪水迟迟不能到位而举行罢工。凯恩（Tom Noonan 饰）旗下的犯罪集团依靠制造风靡各地的毒品“纽克”大发横财，社会治安极度败坏，到处是暴力事件。机械警察墨菲（Peter Weller 饰）追查毒品，将凯恩的制毒工厂捣毁，由此被凯恩团伙埋伏，惨遭肢解。与此同时，泛消费公司趁市政府财务困难，凭合同欲将城市行政纳入公司范畴，泛消费的新机械战警开发计划屡屡失败，于是请到心理学家菲克斯参与设计，菲克斯改动墨菲的命令程序使其无法如常工作，从错误程序摆脱出来的墨菲带领一干热血干警横扫凯恩总部，但是菲克斯却将凯恩改造成为巨大的机械战警，墨菲与凯恩的再次战斗不可避免……

- t* e2 X1 v$ |$ {　　When Detroit's decent into chaos is further compounded by a police department strike and a new designer drug called "Nuke," only RoboCop can stop the mayhem. But in his way are an evil corporation that profits from Motor City crime and a bigger and tougher cyborg with a deadly directive: Take out RoboCop. Containing the latest gadgetry and weaponry as well as the brain of the madman who designed "Nuke," this new cyborg isn't just more sophisticated than his predecessor...he's psychotic and out of control! And it's going to take everything RoboCop has - maybe even his life - to save Detroit from complete and utter anarchy.
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1. DISC INFO:
   
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3. Disc Title:     RoboCop.2.1990.1080p.CEE.BluRayCD.AVC.DTS-HD.MA.5.1-FGT
   
4. Disc Size:      39 026 229 228 bytes
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5. Protection:     AACS
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6. BD-Java:        Yes
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7. BDInfo:         0.5.6
   
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9. PLAYLIST REPORT:
   
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11. Name:                   00700.MPLS
    
12. Length:                 1:56:40 (h:m:s)
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13. Size:                   37 837 424 640 bytes
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22. AUDIO:
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36. Dolby Digital Audio             Hungarian       224 kbps        2.0 / 48 kHz / 224 kbps
    
37. Dolby Digital Audio             Thai            224 kbps        2.0 / 48 kHz / 224 kbps / Dolby Surround
    
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RoboCop 2 Blu-ray, Video Quality   
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Before examining Shout!'s disc of RoboCop 2 and its MGM counterpart, it is necessary to retrace the film's aesthetic intentions as well as give some insights into its advanced optical effects that presaged CGI. Cinematographer Mark Irwin shot RoboCop 2 on 35mm using a 4-perf 5296, which is a spherical process he specifically used to bring out the grain in the rear projection shots. Irwin always employed a high-speed stock. One-third of the film was photographed during the evening, the rest consisting of day interiors and day exteriors. Instead of using a Steadicam for dolly shots, Irwin used the Kenyon Gyro-Stabilizer.

: f. Z6 b- M! Q* ?7 C* ~: qVisual effect shots were shot on a VistaVision 8-perf, a 35mm process in which the height equals the width of a regular format and a width equals double the height of a standard frame. Associate producer/visual effects wizard Phil Tippett employed as many as eight stop-motion crews in order to consummate 160 animated shots required for the film. Paul Sammon ran the idea of using a Amiga 2000 PC by Davison to capture the various computer graphics needed for the film. In addition, Kershner was so intrigued by the possibilities of the graphics system that he had Miller customize his script to more prominently feature the animation and graphics. More, RoboCop's optical point-of-view perspective of "RoboVision" was created on a vintage Macintosh computer. According to special effects artist Peter Kuran, the graphics were scanned into the computer printer along with a lineup chart, which in turn were registered against the print of a particular scene so Kuran would know where to place the elements in the frame. Kuran transferred the chart back to film and composited it over the shot. To visually suggest video scan lines, animator camera technician Jammie Friday hand-drew India ink lines on acetate and composited over the shots. There is a total of thirty-five minutes of computer graphics contributed to the final film.

In RoboCop (1987), the title character appears silvery but in the sequel, emanates shades of blue. It also was intended to be iridescent depending on the lighting conditions. Under street lights, for example, Rob Bottin's Robo costume looked a vivid blue. Under the film lights, it turns into a steely blue-gray. Bottin believes that instead of the pure gray as seen on the suit in the original, a bluer tone would resonate better on film. To light Robo in close-ups, Irwin set up MI-lights, which are small boxed units. Robo's suit (made of plexiglass) showed off smooth, reflective surfaces and Irwin lit him with large planes of light and particularly rim lights for soft lighting so there were not halo effects. According to Irwin, a bulk of the film consists of rear projection with blue screen pieces added to a rear-projected stop-motion foreground (four or five layers in a single shot). Robo's suit of armor and the complexities of shooting it from the front and in profile made Irwin experiment with several different angles and frame rates.

For a majority of its transfer, Shout! has accurately replicated the original color timing and electronic/pre-digital effects that are seamlessly integrated into the film. Shout! presents RoboCop 2 in its original theatrical aspect ratio of 1.85:1 on this AVC-encoded BD-50. On one layer, Shout! has devoted most of its space to the main feature, with video streams that average 35000 kbps. (The ten or so supplements occupy the other layer.) Although the print Shout! used derives from the same source as the 2011 MGM BD (note the roaming film artifact above Robo's right shoulder blade in frame grabs #s 6 & 7), the two transfers are not identical. Shout! advertises theirs as a new "2K scan of the interpositive." Screenshot #s 1- 5 are captured from the Shout! disc. For Screenshot #s 6-35 of corresponding shots between the two BDs, Shout! appears on the top and MGM on the bottom. (For certain captures, it was difficult to get two exact frame matches.) You will notice in #7 that MGM has made the hue more blue than silver, thus according with Irwin and his crew. Conversely, Robo's armor has a bluer shine in #8. The Detroit Police Department's wood panels are also gray in #8, while they're given a pale green all throughout in #9. The Magnavolt Salesman's skin tone in #27 appears darker above MGM's, which is a shade brighter. In general, MGM boosted its brightness levels a notch. Shout! has an orange tinge and can look a bit muddier in places. In spite of a few inconsistencies, Shout! is the finer presentation of the two. It has a more consistent and stable grain pattern. It also appears smoother throughout with fewer artifacts than the MGM.
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RoboCop 2 Blu-ray, Audio Quality   
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Shout! has provided a DTS-HD Master Audio 5.1 track (3838 kbps, 24-bit) and the movie's original Dolby Stereo Surround 2.0 mix (2032 kbps, 24-bit). I recall listening to MGM's uncompressed 5.1 mix and while stellar, Shout!'s recording eclipses it. There is outstanding depth, dimensionality, and range. Gunshots and explosions crackle on the surround channels. Composer Leonard Rosenman, stepping in for Basil Poledouris who was busy with other scoring assignments, delivers a brassy-heavy score that is well-represented on this track. Dialogue is crisp and mostly easy to discern.
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Shout! has given the main feature optional English SDH.
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机器战警2/铁甲威龙2 [欧版原盘 自带中字] RoboCop 2 1990 1080p CEE BluRaycd AVC DTS-HD MA 5.1-FGT 36.35GB
https://forum.bluraycd.com/thread-4940-1-1.html
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