Re: A few words about...™ An American in Paris -- in Blu-ray
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Originally Posted by DaViD Boulet
Lossless really makes a difference, even for "old mono" movies. So many DVDs that sound "dead" that most folks just assumed is the sound of old mono soundtracks, open up with shockingly life-like clarity and realism on my old (lossless) PCM laserdiscs... really ticks me off that WB stuck with the low bit-rate Dolby on this. Even must maxing out the mono lossy track with 640 or even 448 would have made a big improvement.
We've been told that this title was "already in the pipeline" when WB finally got their act together with setting a studio-wide policy for supplying lossless on all BD titles. Let's hope this gets revisited at some point... and let's hope that WB really sticks by its word on future BD releases... yes, even "old mono" movies. p.s. all sources have indicated that this title has lossy only, and that's what several reviews have indicated. I should have my screener (running late obviously) this week and will check myself and also compare against the "That's Entertainment" clips which have TrueHD. |
I couldn't agree with you more David. If anyone doubts your statements, all they need do is pop in their dvd of the last release of South Pacific and then listen to the new blu-ray with DTS MA. Every aspect of the soundtrack is improved. The richness, the tonal quality, the dialogue, the soundstage comes alive at last. While laserdisc did provide some good lossless, the problem then was that they were not mastering the soundtracks like they are now. We have come a long way with sound remastering since those days. And there is absolutely no reason to think that a single channel film would not benefit from lossless audio. Those who think that just because a film contains one channel and it's ok to simply do a lossy transfer are mistaken.
If this release was planned and prepped prior to Warner's decision to use lossless all of the time, then why is Gigi in Dolby True HD? They both came out at the same time so I would assume they were prepped around the same time as well. I could be wrong, but I basically feel that any studio taking the path of using lossy because a film is mono is doing a great dis-service to the track of those films.

