世界末日/世界末日的时刻 [蓝光原盘] Armageddon Time 2022 1080p BluRaycd AVC DTS-HD MA 5.1-iNTEGRUM 38.53GB

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◎译　　名　世界末日/世界末日的时刻
) Q0 ]" {' _- z- S& G. @/ w7 S; G◎片　　名　Armageddon Time
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◎产　　地　美国/巴西
) I: |% v6 k! L( `◎类　　别　剧情
◎语　　言　英语
( W- [) W) @8 k2 s3 W- P◎上映日期　2022-05-19(戛纳电影节)/2022-11-04(美国)
◎IMDb评分  6.5/10 from 10,563 users
$ w1 p# m. P  `7 \$ f◎IMDb链接  https://www.imdb.com/title/tt10343028/
◎豆瓣评分　6.9/10 from 5,882 users
3 i* I! r7 U5 p$ @$ L◎豆瓣链接　https://movie.douban.com/subject/33451890/
7 Y+ r" v6 M3 F7 ]  i◎文件格式　x264 + DTS
& h- j8 _  {: j* ^◎视频尺寸　1920 x 1080
/ N) o$ t5 K) J# G: t% w' P; V# v' K◎文件大小　1DVD 38.53 GiB
◎片　　长　1:54:13.471 (h:m:s.ms)
$ x) S/ p7 z& |$ i5 L  W$ k◎导　　演　詹姆斯·格雷 James Gray
◎编　　剧　詹姆斯·格雷 James Gray
" M& J, \2 q4 J4 W7 Y8 B1 t% d. ~◎演　　员　安妮·海瑟薇 Anne Hathaway
& r0 k9 ~5 o" r$ @* x. p. w　　　　　  杰瑞米·斯特朗 Jeremy Strong
: G4 g4 S- K0 R7 x% S2 j　　　　　  安东尼·霍普金斯 Anthony Hopkins
6 f, d+ d6 G, g. s6 h+ M# J& n　　　　　  杰西卡·查斯坦 Jessica Chastain
　　　　　  多米尼克·隆巴多兹 Domenick Lombardozzi
　　　　　  托芙·菲尔德舒 Tovah Feldshuh
　　　　　  玛西娅·让·库尔茨 Marcia Jean Kurtz
9 g0 a$ j6 _$ `+ j6 j( H: T　　　　　  泰迪·库卢卡 Teddy Coluca
　　　　　  迈克尔·班克斯 Michael Banks Repeta
+ z) c( a4 l$ c9 H6 x　　　　　  安德鲁·波尔克 Andrew Polk
1 Y4 K5 L9 K. D: R, B. D2 b　　　　　  詹姆斯·格雷 James Gray

◎简　　介   

8 p! p/ ?7 y+ B$ {. _　　影片基于格雷自己的童年记忆创作，讲述了在上世纪80年代美国正要选举罗纳德·里根为总统的背景下，一个关于友谊与忠诚的故事。格雷当时在纽约皇后区邱森林学校学习和成长，而唐纳德·特朗普是该校校友，特朗普的父亲弗雷德·特朗普是这所私立学校的董事会成员。
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( I7 z5 S$ V) N& u" r　　A deeply personal coming-of-age story about the strength of family and the generational pursuit of the American Dream.

1. DISC INFO:
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3. Disc Title:     Armageddon.Time.2022.1080p.BluRayCD.AVC.DTS-HD.MA.5.1-iNTEGRUM
   
4. Disc Size:      41,374,641,751 bytes
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5. Protection:     AACS
   
6. Extras:         BD-Java
   
7. BDInfo:         0.7.5.9 (compatible layout created by DVDFab 12.0.9.6)
   
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9. PLAYLIST REPORT:
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11. Name:                   00800.MPLS  
    
12. Length:                 1:54:13.471 (h:m:s.ms)
    
13. Size:                   36,143,093,760 bytes
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14. Total Bitrate:          42.19 Mbps
    
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20. MPEG-4 AVC Video        34798 kbps          1080p / 23.976 fps / 16:9 / High Profile 4.1
    
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26. DTS-HD Master Audio             English         3313 kbps       5.1 / 48 kHz / 3313 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
    
27. DTS Audio                       Spanish         768 kbps        5.1 / 48 kHz / 768 kbps / 24-bit
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28. DTS Audio                       French          768 kbps        5.1 / 48 kHz / 768 kbps / 24-bit
    
29. Dolby Digital Audio             English         192 kbps        2.0 / 48 kHz / 192 kbps
    
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35. Presentation Graphics           English         48.59 kbps                     
    
36. Presentation Graphics           Spanish         39.125 kbps                    
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37. Presentation Graphics           French          37.593 kbps                    
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38. Presentation Graphics           Spanish         0.614 kbps                     
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39. Presentation Graphics           French          0.714 kbps

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Armageddon Time Blu-ray, Video Quality   
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: x' s- O2 k" O0 }3 cUniveral/Focus Features' "triple play" release of Armageddon Time from last month comes with a slipcover on this MPEG-4 AVC-encoded BD-50 (disc size: 41.37 GB). I saw this eighth feature by Gray in a theater less than two months ago so I can comment on how the 2.39:1 image compares on this Blu-ray and Prime's UHD stream. Production designer Happy Massee noted in Focus Feature's press kit that he intended for all the tones "to be very earthy—greens, browns, and ochres." The saturation on the brown tiles in the Graff's bathroom, for example, is as well-pronounced on the 1080p and 2160p transfers as it was on the DCP I saw. All three prints have a golden-brown hue.
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" k- e) U! b  F' ]. W; QCinematographer Darius Khondji shot the picture on an Arri Alexa 65, using Super Baltar lenses that he and Gray borrowed from DP Ed Lachman. Khondji explained their choice to François Reumont of British Cinematographer Magazine: "We chose a Super Baltar series from Bausch & Lomb, adapted to the Alexa 65; wonderful vintage fast lenses with remarkable close focus capability. With James, we shot almost the whole film with two or three focal lengths – no need for a particularly full set of lenses. And these ones really allow me to break the ultra-high definition of the camera sensor." The lighting and grip equipment derive from Arri 
Digital. (You should pay attention to how light emanates from other rooms in the Graff household across the wide frame in my screen captures and while you watch the film.) Compared to the Blu-ray, the 4K stream shows noticeable upticks in detail and sharpness. Clarity is outstanding even in distantly framed background settings.

Another important variable to consider when evaluating the image is that Gray wanted Armageddon Time to appear as if you're watching a movie printed on Kodak film from over three decades ago. But Gray couldn't find a vintage Panavision camera that could give him the desired look he sought. In an interview on the ReelBlend Podcast, Gray stated that he applied a very old 35mm grain app to a digital file. He describes this process as "electronically created simulacrum of 35 millimeter film from 1980." The Blu-ray does a better job of replicating the faux film grain than the UHD does. (This isn't to imply that the Prime Video 4K stream is DNRed. I didn't see much de-noising.) I'm thinking of a medium shot of Paul in his home that really brings out the grain.
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; ^% q" H* b0 ]; R9 k! o" z& }For nighttime exteriors, both the BD and UHD do an excellent job of handling Khondji's light sources. In either another or the same interview he conducted with François Reumont for the French Society of Cinematographers (AFC), which was translated from French by A. Baron-Raiffe, Khondhi addressed color and light levels: "...I wanted to use tungsten a little more on night exterior scenes, to get as close as possible to the color of the streets at that time. Here again, it was a simple lighting, with few sources and a general nocturnal brightness well below what we now know in today's cities lit by LEDs. Also, very vertical effects, like the scene at the end of the film when the father brings his son home from the police station. I turned off most of the streetlights, leaving only a few bright spots here and there. When you're in the car, the main effect comes from tungsten sources placed very high up, at a height similar to real streetlamps, mixed with a few ¾ counter lights coming from the lamps on entrance porches or neighboring gardens." See especially the scene that comprises Screenshot # 6. Universal has encoded the feature on the Blu-ray at a mean video bitrate of 34798 kbps.
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! U4 B1 u! L" ?; P1 e$ u8 \Twenty chapters accompany the 114-minute feature.
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Armageddon Time Blu-ray, Audio Quality   

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' K( c- i! r1 R, D: Y6 c6 o% G( FUniversal has supplied an English DTS-HD Master Audio 5.1 Surround mix (3313 kbps, 24-bit) as the default audio track. Spoken words are clear and audible throughout the presentation (especially those by Anthony Hopkins). While much of the dialogue and some of the f/x are primarily relegated to the fronts, there's a lot of deep bass I heard along the surrounds and subwoofer. This occurs during the screeching of train tracks and recordings of The Sugarhill Gang's "Rapper's Delight" and The Clash's "Armageddon Time." I don't have audio specs for the Prime stream but it sounds like a very solid lossy DTS or 5.1+. It's an excellent sound track.
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( y3 I& |2 o2 I% g/ sChristopher Spelman only wrote fifteen minutes of score but he makes each note count. When interviewed for the Focus Feature press kit, he divulged a surprising inspiration: Rota's score for Fellini's 8½ (1963). Spelman says he played classical guitar so it sounds like it's being played on either an unamplified archtop jazz guitar or a real archtop guitar. This part of the score works well because it's integrated nicely in the sound track's backdrop and isn't intrusive. For the family motif, Spelman wrote in a xylophone that's bowed to other instruments. There's also some emotive strings that aren't played too loudly with furtive guitar anchoring the background.

Optional English SDH as well as French and Spanish subtitles can be accessed for the feature.

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