Originally Posted by Jojos
Most caps match those posted by eric.exe. There's a very slight difference between the French blu-ray and the US one: the French seems to have no DNR at all while the US still has a little
(although much less than the HD DVD).
'Lost In Translation' has just been released in Australia (1-Feb-2012) .
I wonder how the pq compares to the other releases.
Here's a review (no screenshots) >>>
Universal Home Video have generally improved significantly since their early releases on Blu-ray Disc, but is still very disconcerting to see the claim "perfect picture & purest digital sound" emblazoned in bold, italicised text across the top of the back cover. As the science of photography currently stands, perfect picture is a contradiction in terms. Also of note is that Sofia Coppola opted to shoot Lost In Translation on film. Her father urged her to shoot it on digital video, apparently, but the story goes that she felt that film feels "more romantic". That it may well do, but since experts agree that in order to equal the resolution of a 35mm film cel, a digital image needs to be 4000 pixels tall (yes, you read that right), I can think of nineteen million and change better reasons.
The credits state that the film was shot entirely on location in Tokyo and Kyoto. The film gives no credible reason to dispute this. The transfer is presented in a 1.85:1 aspect ratio within a 1920 by 1080 progressive window. As one would expect from a film shot on film in these places, it is sharp. However, it is not as sharp as I would have expected from this film, and I cannot help but feel some detail was lost in the transfer stage in this instance. Shadow detail is exactly as I remember it from the theatrical exhibition. Noise is evident in some night-time shots in small amounts, but it appears to be grain from the manner in which these sequences were shot rather than the low-level variety of noise.
The colours in the film were generally muted and subdued, with only a handful of bright or garish moments in places such as video arcades or neon-lit streets. Skin tones are very natural, and lighting is very well-controlled, without any flaring. The transfer does not introduce any bleeding or misregistration.
The transfer is compressed in the VC-1 codec. During one sequence where we see the broadcast of a talk show appearance Bill Murray's character makes, the image looks slightly pixelated due to an obviously deliberate effort to recreate the aesthetic of Japanese television, but this is the only time we see so much as a hint of what looks like compression artefacting. Film to video artefacts were not in evidence. Maybe a handful of film artefacts appear in the film, but one would have to really be looking hard for them to really notice.
Subtitles are offered in English for the Hearing Impaired. Interestingly, these subtitles also give us the unheard other end of phone conversations. They are mostly accurate to the spoken word and give good cues. The font is a little large for my taste, but the subtitles are very good otherwise.
The video transfer is excellent, with Tokyo in particular making it clear that it is the high definition city. The audio transfer is good. Although the surrounds and subwoofer only get real use for a small fraction of the running time, the content really demands vocal clarity, and this transfer delivers.