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The true story of the "Rumble in the Jungle" fight between Muhammad Ali and George Foreman in Zaire.# C2 j- ?: e1 M: Q6 ?) c0 i( ~: j
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◎译 名 一代拳王/当我们是拳王的日子/王者风范! e5 s- q' E% e8 R1 L/ i1 \ C
◎片 名 When We Were Kings, A k, E$ z! O1 f }: I
◎年 代 1996
. `) O: v7 N" g# t }, V5 u◎产 地 美国4 D, l8 q# q8 x( E2 Y Y
◎类 别 纪录片/历史/运动0 G6 f+ d b+ n
◎语 言 英语5 i) V B( `2 d* k d( D9 }
◎上映日期 1996-01(圣丹斯电影节)/1997-02-14(美国)
+ ?9 x+ S: a% ?8 n7 K◎IMDb评分 8.0/10 from 17,255 users0 w1 ]7 H$ @9 A5 |
◎IMDb链接 https://www.imdb.com/title/tt0118147/
B3 w2 {! Q; Y' Q8 B◎豆瓣评分 8.1/10 from 259 users/ r, F7 D: y7 A) f3 t
◎豆瓣链接 https://movie.douban.com/subject/1300184/
- u& e: h- G5 P ~' q( [6 |. w2 b◎文件格式 x264 + DTS # l' C/ O; x: ^
◎视频尺寸 1920 x 1080
2 y0 S. z Z$ \1 \3 u! v◎文件大小 1DVD 23.53 GiB
, M8 M w& @3 u* v4 |◎片 长 1 h 27 min- ]9 E- a3 O3 c* I
◎导 演 莱昂·加斯特 Leon Gast
( r9 C0 }5 j# g! d, J◎编 剧 莱昂·加斯特 Leon Gast% O. |* L& L# Y
◎主 演 穆罕默德·阿里 Muhammad Ali
0 B, a2 n% A8 U( C+ q3 V3 y/ s 乔治·福尔曼 George Foreman
+ J0 i2 M M; h6 `. P+ Y' E# ~. b0 M 唐·金 Don King
! _6 j9 K8 f+ t2 U 詹姆斯·布朗 James Brown
8 U. k/ I- u' B+ {8 O& @; ^7 e" E4 u BB·金 B.B. King6 E' S. p/ }8 P) @1 M# H
蒙博托·塞塞·塞科 Mobutu Sese Seko& \0 H2 ^; O/ S: }% l8 o: P
斯派克·李 Spike Lee
1 t* `' @. \; Y 诺曼·梅勒 Norman Mailer
$ \. G, h0 s! V( I3 [5 M$ N; }6 u 乔治·普林普顿 George Plimpton: p0 \: r% p$ N
马利克·鲍恩斯 Malick Bowens
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# H! r3 }5 U8 |! m F$ m◎标 签 纪录片 | 拳击 | 美国 | 体育 | 1996 | 美国电影 | documentary | 1990s
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◎简 介
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这是一部迟到了很久的纪录片,记载的是1974年穆罕默德·阿里和乔治·福尔曼在前扎伊尔首都金沙萨进行的着名的“丛林之战”,居然还跟现场直播一样扣人心弦。胶片的仰视视角将阿里放大成了一个文化标记,但由诺曼·梅勒和乔治·普林顿撰写的犀利解说词则令他重返凡间。
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; g3 {6 G5 P& R k 这是一部迟到了很久的纪录片,记载的是1974年穆罕默德·阿里和乔治·福尔曼在前扎伊尔首都金沙萨进行的着名的“丛林之战”,居然还跟现场直播一样扣人心弦。胶片的仰视视角将阿里放大成了一个文化标记,但由诺曼·梅勒和乔治·普林顿撰写的犀利解说词则令他重返凡间。0 }/ P% Y! I, Q
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A documentary of the 1974 heavyweight championship bout in Zaire, "The Rumble in the Jungle," between champion George Foreman and underdog challenger Muhammad Ali.
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$ M8 S: Y- K' G' I. h# J◎获奖情况 * ?4 J3 x( E) ]2 L4 l
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第69届奥斯卡金像奖(1997)
" y' g- T' W7 J 最佳纪录长片 David Sonenberg / 列昂·格斯特
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6 a5 C9 z( {: HVideo
V. e4 V0 c& ]/ q0 dID : 1
# j8 b* F% o/ c7 `& c z* `; s9 `Format : AVC, b! D! B0 x! M" o" C- y
Format/Info : Advanced Video Codec1 f1 J& T5 M# {$ W+ \7 n9 t
Format profile : [email protected]
]7 r7 c5 o _3 D$ Q1 s1 k; z: zFormat settings : CABAC / 4 Ref Frames
b, r/ u9 V% p1 }5 vFormat settings, CABAC : Yes" I4 ^0 ]4 B+ y, j9 y! T3 j
Format settings, Reference frames : 4 frames# r; k( S- A- l& H$ u& j/ L1 \
Format settings, GOP : M=3, N=12
/ w# b- |7 x' l" N. x7 [Codec ID : V_MPEG4/ISO/AVC% e" L4 t A, N+ f- U) m
Duration : 1 h 27 min1 r; x7 L0 J) ]" l8 p
Bit rate mode : Variable
& q# H0 w% w- Z: C$ T% Y2 ^/ }4 WBit rate : 35.9 Mb/s6 [1 P" E1 s' p1 B) r0 d- F
Maximum bit rate : 37.0 Mb/s% p/ F, H7 W! c' }3 [
Width : 1 920 pixels- W$ Y! d* }* P. ^
Height : 1 080 pixels) O/ u0 w4 D( Q2 O% E; o2 Y
Display aspect ratio : 16:9
4 C `1 H& c: q1 t7 E s; mFrame rate mode : Constant
: C+ P4 `0 `/ SFrame rate : 23.976 (24000/1001) FPS8 b9 [# V: o' o$ I6 O/ r: o
Color space : YUV
9 r# t1 r7 e5 n* L; f$ lChroma subsampling : 4:2:0
5 B: b3 W- M/ d9 `Bit depth : 8 bits# u* X9 g0 L, G# O2 j& }9 `
Scan type : Progressive
7 e2 ?/ }5 ~2 ~. K) aBits/(Pixel*Frame) : 0.7236 O5 T/ ^% x( h% q8 t5 ^
Stream size : 21.9 GiB (93%)/ Q- I" T! z+ B- w7 [1 H
Title : When.We.Were.Kings.1996.1080p.BluRayCD.REMUX.AVC.DTS-HD.MA.5.0-FGT
8 @: C! Y6 d5 aLanguage : English
5 i9 e0 }$ i. [4 _Default : No8 U9 z% V+ D7 i" j
Forced : No" z+ c4 X4 j% @8 A
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Audio
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Format : DTS XLL# i. w2 N1 c& Q( D0 n) ?
Format/Info : Digital Theater Systems
. N/ }9 S$ G8 f# y; d' [Commercial name : DTS-HD Master Audio
% b6 u. G/ h; {4 `* VCodec ID : A_DTS4 d z( }7 ]& R# u% p5 P) G
Duration : 1 h 27 min3 n2 G$ l2 r' j, v
Bit rate mode : Variable
$ K/ J$ S1 S) k4 g- WBit rate : 2 594 kb/s
$ K7 I- M+ U- e1 X/ e% R4 T9 Z" _Channel(s) : 5 channels6 w6 u3 Q6 s! o
Channel layout : C L R Ls Rs
2 }9 G2 l: r' L/ H( V7 b+ W; ^6 OSampling rate : 48.0 kHz5 a& q4 x7 t4 n9 N
Frame rate : 93.750 FPS (512 SPF)
L* `! d% s a# }: `9 LBit depth : 24 bits6 C2 R1 q6 o8 }( H" N/ Z
Compression mode : Lossless
# |7 H; E Z8 p8 w6 O' BStream size : 1.58 GiB (7%)
* |$ S5 u8 _( o2 q( _2 {5 G Z: qTitle : When.We.Were.Kings.1996.1080p.BluRaycd.REMUX.AVC.DTS-HD.MA.5.0-FGT! j( }" l- q- Z+ `$ h* z
Language : English
" I* x$ Q! M' y$ z& ?; r2 U! aDefault : Yes
0 r( o1 w% f2 i) ~& p0 iForced : No
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9 K7 B) H5 r5 g0 ?Text
- a) D; ]. b# t% WID : 3- q( y: a* t( Q" ^( v9 [% R
Format : PGS
: Z' A7 ]0 I! j8 |Muxing mode : zlib8 e$ j @1 H. m5 ~3 [9 y3 s. B
Codec ID : S_HDMV/PGS
- G5 X6 B5 W" n3 \7 e2 eCodec ID/Info : Picture based subtitle format used on BDs/HD-DVDs7 ~ {8 _4 I/ B/ \
Duration : 1 h 27 min
7 x" L' \! W, x5 L' eBit rate : 93.2 kb/s
7 n0 c# l/ @+ ^' h5 L9 T% FCount of elements : 3134& T8 j" N1 R( \# ]. a. C% ]
Stream size : 58.1 MiB (0%)
1 z: l( t. h# K" r CTitle : English-PGS# P; }" F( z- {3 ^; d
Language : English2 r0 j3 K5 }9 V. S+ k9 @9 f
Default : Yes
5 @1 N5 Z7 c) KForced : No
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Menu* l4 u) p7 S+ ~6 E" P8 ^; k! Z
00:00:00.000 : en:Chapter 01% W4 _1 k1 w O- \
00:09:16.472 : en:Chapter 02; U4 K: {: E$ M4 f" L. x
00:17:11.196 : en:Chapter 03
2 A# [# T( O9 m0 F, r4 u7 x2 b00:23:27.781 : en:Chapter 04
9 G6 m% A+ R2 K! ]" G* Q00:34:09.422 : en:Chapter 05
9 j' O1 j+ z5 S5 _+ w, Z* D00:42:50.359 : en:Chapter 06, Y7 s U" x" g* |: G0 m, V$ p$ c# A
00:49:38.225 : en:Chapter 07
+ `% b6 d1 b! k4 Z" W00:59:40.326 : en:Chapter 08
+ Y, t5 N, m& R, K01:14:07.025 : en:Chapter 091 }6 Z0 C5 D" E; O$ ?! g2 M3 a, b
01:17:19.301 : en:Chapter 10
5 l; |; \9 Q2 i/ w01:20:20.899 : en:Chapter 11 When We Were Kings Blu-ray, Video Quality
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5 d- e1 {! j. p: Y% h+ r1 Q! WPresented in an aspect ratio of 1.78:1, encoded with MPEG-4 AVC and granted a 1080p transfer, When We Were Kings arrives on Blu-ray courtesy of Criterion.4 w$ k9 w. c" [! r+ O
8 M& N6 [! `5 g7 E: J0 oThe following text appears inside the leaflet that is provided with this Blu-ray release:! ~' V) v g! r- ?7 }( a, c
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"This new digital transfer was created in 4K resolution on a Lasergraphics Director scanner from a 35mm interpositive and restored at Deluxe in Hollywood. The 5.0 surround soundtrack was remastered from the 35mm six-track full-coat magnetic tapes using Avid's Pro Tools and iZotope RX.! y7 m1 n. _0 f
' n( U, {0 J9 |/ `Colorist: Lee Kline, Criterion Post, New York."8 s7 n4 ?' o& J2 e; R
/ E& T2 m& G; ~7 ^' S% TThe documentary uses footage from a number of different sources, including some were mastered in standard definition, with variable technical characteristics. So, my comments do not address the native quality of this footage and how it was incorporated into the documentary. My comments address only the presentation of the finished product and how it was transferred to Blu-ray., d4 T- J: V# P/ o+ |4 z& X
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Given the above clarification, you should expect to see a range of modest to strong density fluctuations, with the most prominent ones appearing during the standard definition footage (you can see an example in screencapture #11). Clarity also varies, especially during the darker footage, some of which is also a tad jittery. This being said, the entire documentary has a very nice organic appearance. (Just to be clear, there are no traces of digital work that was done to rebalance the archival footage). The color grading job is also very pleasing and in my opinion preserves the native period qualities of the raw footage. (And yes, even the black-and-white footage). Image stability is excellent, but keep in mind that some of the native footage could be a tad shaky. There are no distracting imperfections, such as damage marks, cuts, stains, warped torn frames. (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).
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, v4 ^3 t$ S7 V- e9 oWhen We Were Kings Blu-ray, Audio Quality
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) m, {2 g. C7 p' l* bThere is only one standard audio track on this Blu-ray release: English DTS-HD Master Audio 5.0. Optional English SDH subtitles are provided for the main feature., a \& ?# f" u5 F, P9 Y
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As the technical credits that we have quoted above reveal, the audio has been remastered to remove age-related imperfections. However, the original soundtrack does some native dynamic and balance fluctuations, and it should not be difficult to understand why -- there is quite a bit of raw footage and concert footage that was shot under different conditions. The important bit here is this: the lossless track reproduces the original qualities of the soundtrack very well.( J, |. |0 B+ q0 v% b) y
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