Dunkirk 2017 IMAX 2160p UHD BluRay REMUX DV HDR10Plus HEVC TrueHD...
RELEASE NOTES:
Source #1: EUR UHD Blu-ray (Thanks CYBER) / (Video/Audio/Subs/Chapters)
Source #2: USA UHD Blu-ray (Thanks GLiNiAK) / (Subs)
Source #3: CEE Blu-ray (Thanks SadeceBluRay) / (Subs)
Source #4: NF VOD (Thanks GNOME) / (Additional Subs)
Source #3: iTunes VOD (Thanks GNOME) / (Additional Subs)
This one's been on our to-do list for a long time, and one of our favorites of the past decade. Shot on proper large format film, we wanted to give this Nolan film a well deserved premium treatment. The IMAX UHD Blu-ray release while excellent was just static HDR with the untamed theatrical D-CInema 5.1 in 16-bit fidelity.
Unfortunately VOD dynamic HDR10+ source(s) not only did not match grading wise, the IMAX scenes weren't kept either and reframed/cropped to the 2.20:1 ratio the non-action shots used for the entire runtime so it wasn't usable. Nor were we going to use a lousy derived VOD P5 DV conversion with non-IMAX metadata.
So like our Sicario 2015 release, we elected to take the VERY labor intensive task of creating our own native dynamic layers for the film in both Dolby Vision and HDR10+ from scratch using up to date professional mastering tools. If you are familiar with our work or that release specifically, then you know what to expect.
Full Release Notes :
All 1.43:1 IMAX shots (reformatted to full frame 1.78:1 by the studio for home video) and the 65mm Panavision 2.20:1 shots (correctly output blanked including the 2.20:1 intro logos, intro intertitles and end credits) were isolated with every single scene and shot in the film properly mapped by hand. Additional considerations for differences in how the DV and HDR10+ content mappers work was also taken into account for the utmost benefit of both formats. While doing this we also took the opportunity to check the static HDR10 metadata during which we found a big discrepancy with the metadata on the UHD Blu-ray vs actual measured values and corrected it using industry standard tools. We suspect this was due to the HDR10 acquisition pass being done including the letterboxing area on the widescreen shots during their analysis or it using arbitrary enforced/placeholder values or an outdated algorithm. Either way it's fixed now so even those without a DV or HDR10+ display will be able to enjoy improved and optimized static HDR playback. The mastering luminance was left at 4000nit as the studio HDR grade was not hard capped and besides now with the dynamic HDR layers, the presentation will adapt to the individual capabilities of the end users display automatically. In total, 1388 dynamic scenes, 947 IMAX and 441 standard widescreen. The exported/rendered HDR10+ Profile B and Dolby Vision Profile 8.1 assets were then injected to the UHD Blu-ray without encoding using proper tools. Both dynamic HDR layers were thoroughly QC checked on a calibrated client reference grade Panasonic W-OLED panel and Oppo UDP-205 player.
On the audio side we upgraded the already amazing sounding film to discrete 8-channel, Dolby Surround 7.1. Much of this work was done awhile back for personal use but we finished it for this release. Retaining the essence and creative intent of the mix, the surround channels were remixed from traditional split surround to separate side/rears surrounds which brought a number of benefits to the perceived overall spaciousness of the presentation especially in atmospherics, point source sounds and SFX like airplane engines. There are the occasional artifacts from microphone clipping in the raw original IMAX 6-Track mix, but we left this as-is instead doing major touch up there as those small moments (which most probably won't even make out anyway) sort of add an imperfect natural character to the film itself. For the cherry on top we employed proprietary Meridian upsampling technology part of select OEM Dolby TrueHD authoring and technology packages for the ultimate experience. The track was pre-conditioned and optimized with special filters at 24-bits of precision on a Pro Tools DAW to get the best benefit of the "Advanced 96K Upsampling" system which also works at 24-bit. The end result is audibly better channel discreteness, less midrange congestion, superior dialog clarity, extended highs, a tighter/deeper more controlled low end and more "air" or sparkle to the soundtrack. The remixed surrounds also enabled the utilization of a superior Dolby Digital EX fallback track allowing up to lossy 6.1/7.1ch playback for older HT systems. The TrueHD audio is back compatible at 48kHz (with 5.1 and 2.0 substreams) or even on devices that use Dolby MAT for TrueHD bitstreaming wrapped as LPCM-- but virtually any A/V Receiver or Pre-Pro made in the last 14 years will support high res THD. All Dolby assets authored on the best fully featured studio encoder. For preservation and completeness the original 6-Track mix (IMAX's Sonics format) is also included on track 3 as well as for those that may prefer the theatrical 5.1 as-is or purely for comparison purposes.
Extra WEB text based subs included and numbered chapters resynced to scene change/I-frame.
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Encoded date : UTC 2022-06-21 18:28:52
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Menu
00:00:00.000 : en:Chapter 01
00:08:51.364 : en:Chapter 02
00:20:13.754 : en:Chapter 03
00:29:07.621 : en:Chapter 04
00:42:35.261 : en:Chapter 05
00:52:48.207 : en:Chapter 06
01:04:32.827 : en:Chapter 07
01:12:50.825 : en:Chapter 08
01:25:55.025 : en:Chapter 09
01:33:23.348 : en:Chapter 10
01:39:13.906 : en:Chapter 11