Originally Posted by Sekosche
Glad I just rented Baby Driver then as the UHD isn't worth it to me without a phenomenal sound/bass track. Redboxed The Mummy today too, at least Universal still has the HD audio on their rental discs and most retail blurays.
Looks like the UHD version is a winner compared to the regular Bluray version in both picture and sound.
Edgar Wright's exceptional genre exercise handles the tight curves and tough streets of 4K Ultra HD Blu-ray thanks to a fantastic HEVC H.265 encode that shockingly leaves its Blu-ray counterpart in the rearview mirror.
Shot on a combination of traditional 35mm film and digital cameras capable of up to 3K resolution, the freshly-minted transfer screeches unto the scene with excellent detailing in the architecture of buildings, the gravel of city streets and Baby's apartment. The various cars throughout expose some of the finer aspects of each one, from the stitching of the leather and the fabric interiors to the chrome trim exteriors. Interestingly, whereas much of the stylized photography resulting from what looks like diffusion filters made things seem a smidge soft and dreamy on Blu-ray, it does not appear as prominent or noticeably on UHD. Instead, we have a consistently sharp and well-defined picture, exposing the tiniest negligible blemish and imperfection in the cast.
Also, brightness levels are massively improved in HDR10. The blacks in clothing and other various objects are true and accurate from beginning to end. With exceptional gradational differences between the various shades, some of the cars are inky rich and opulent while some of the clothes worn by others look silky smooth. The shadows, too, benefit tremendously, allowing for superb visibility of the finer details during the many nighttime sequences and in the dimly-lit environments, providing much of the 2.39:1 image with appreciable depth. Contrast is also a tad brighter than its HD counterpart, delivering brilliant, pitch-perfect whites, making Baby's and Doc's shirts look immaculate. Strong specular highlights give the edges of cars a beautiful and realistic sparkle while the metal trims glisten in the sun.
Unlike the Blu-ray, the palette doesn't seem affected by the film's deliberate look in the least. In fact, the 4K presentation comes with a sumptuous, radiate array of primaries that animate even the darkest scenes. Reds in Bo's diner have a slightly deeper, truer tone while the cars show a distinctly different, almost cherry-colored shade. Blues are electrifying, greens pop with life and yellows are resplendent, true to life. The sequence inside the laundromat, as blankets of different colors tumble in the dryer, makes for a nice demo scene. The rest of the photography is showered with warm, energetic secondary hues, giving the natural skin tones a healthy rosiness.
Baby stylishly eludes the police with a fantastic Dolby Atmos soundtrack that surprisingly leaves its DTS-HD MA counterpart in the dust, consistently pulling viewers into the thick of action and as though sitting in the getaway car.
As before, when the action gets going, various discrete effects pan into the surrounds and convincingly circle the listening area. Only, this time, the noise of city traffic, gunfire and screeching tires echo into the ceiling speakers. You can also hear the cars being left behind as Baby zooms past them. But most impressive are the helicopters following the chase from high above, creating an awesomely cool dome-like effect. Each blade of the rotor is distinctly heard slapping the air as though hovering over the house, and there are a few moments when a couple helicopters fly overhead from one side of the room to the other. Compared the DTS-HD track, this object-based version is far more consistent and enveloping, as various sounds flawless zip and pan across the room with convincing off-screen clarity. With a majority of that activity maintained within the front soundstage, other atmospherics spread evenly across the three channels with exceptional separation and balance, generating a welcoming and broad sense of space that's highly engaging.
The mid-range noticeably benefits from the extra breathing room, exhibiting superb clarity and distinction during the loudest moments. Steven Price's score and the various song selections fill the room with warmth and fidelity, beautifully bleeding into the sides and front heights naturally. Each crunch of metal on metal during the many crashes is detailed and reverberates throughout the room with appreciable realism. Amid the vehicular mayhem, vocals are never drowned out by the loud collisions, which is much appreciated since Ansel Elgort's character is very soft spoken. For bass enthusiasts, this lossless mix delivers an awesomely palpable and highly responsive low-end that brings the sort of substantial impact and weight expected from the visuals, providing the action and music with couch-shaking presence.