|Category||Music||Biography - Cast
Featurette - Meet The Artist (17:00)
|Running Time||62:29 minutes|
Warner Vision Australia
|Pan & Scan/Full Frame||Full Frame||English (Dolby Digital 5.1, 448
English (Dolby Digital 2.0, 256 Kb/s)
English (DTS 5.1, ? Kb/s)
|Widescreen Aspect Ratio||No|
|Theatrical Aspect Ratio||1.33:1||
|Annoying Product Placement||No|
|Action In or After Credits||Yes, during credits|
The selection of songs from this made for television concert are:
I am anything but a fan of Chaka Khan, and despite that I actually quite enjoyed this. I may not return to it often, for this is not my preference in jazz, but it is a worthy enough piece of jazz singing that in some ways evokes an earlier era. If you know Chaka Khan from her more popular stuff with the band Rufus or as a soloist, then this may come as a bit of a shock - but hopefully a pleasant one. Worthwhile investigating.
The transfer is presented in a Full Frame format, and it is not 16x9 enhanced.
In this instance there are not even odd lapses in focus to detract from what is a very sharp and detailed transfer that is about as good as you can reasonably expect from this sort of made-for-television programming. Bright and clear, the detail here just jumps out at you and yet has a nice subtlety to it at times. Shadow detail is very good, even though the darkened audience could perhaps have had just a bit more detail if you were being super-critical. Myself, I certainly have no complaints about the audience detail at all. There were just a few odd hints of noticeable grain that briefly marred the transfer (the most notable example being at 38:40), but even that I did not find at all distracting. Low level noise is also not an issue in the transfer.
The colours here come up wonderfully well and yet again the whole transfer has a wonderful vibrancy to it. The main problem here is the intense stage lighting which at times causes horrendous flare problems, most notably in the audience shot at 55:05. Still, these instances were rather rare (about three times it happened for a collective fifteen seconds at best) and I am happy enough to overlook them since such problems seem to be inherent in this sort of source material. The transfer generally has a very nice saturation to the colours and apart from those brief audience moments there was nothing in the way of oversaturation here. There was no problem with colour bleed.
There are no MPEG artefacts in the transfer. There are virtually no film-to-video artefacts in the transfer, apart from some very brief and barely noticeable aliasing - the keyboard and the twelve string guitar are the worst offenders. There was no problem with film artefacts in the transfer.
The subtitle options listed are only applicable to
the supplementary material.
There is no problem with the vocals, which come up very well in the soundtrack and are easy to understand. There did not seem to be any problem with audio sync in the transfer.
This is a rather nice Dolby Digital 2.0 soundtrack,
really open and clear with loads of brightness that really conveys the
whole atmosphere of the music very well indeed. I was actually quite enjoying
the sound, but had to force myself to move on to the Dolby Digital 5.1
soundtrack. This little effort is a very nicely engineered production,
with restrained use of the bass channel and very specific use of the surround
channels. The music and vocals are all mixed to the centre and front surround
channels and the rear channels only have audience ambience (applause and
the like) tossed at them. The result is one of the best defined soundtracks
that I have heard for quite a while and really creates the impression that
you are sitting in the audience - the music is definitely coming from in
front of you and the audience noise surrounds you when it comes into play.
There is little at all to complain about here and I reluctantly moved on
to the DTS 5.1 soundtrack. Take everything great about the Dolby Digital
5.1 soundtrack and up it by ten percent! This is certainly the most unusual
DTS soundtrack that I have yet heard, as there has been a deliberate attempt
to keep the bass enhancement out of the rear channels here. The result
is simply a fine soundtrack for exactly the same reasons as the Dolby Digital
5.1 soundtrack. The bass channel gets a little more play here as is to
be expected in a DTS soundtrack, and the front surrounds are a lot more
active, but the same well-engineered dynamics apply to this soundtrack.
In many ways this is audio demonstration of a different and subtle kind,
and the soundtracks all suit the music very well indeed. The sound engineer
on this effort should take a bow.
|Surround Channel Use|
© Ian Morris (have
a laugh, check out the bio)
2nd November 2000
|DVD||Pioneer DV-515; S-video output|
|Display||Sony Trinitron Wega 80cm. Calibrated with the NTSC DVD version of Video Essentials.|
|Audio Decoder||Built in|
|Amplification||Yamaha RXV-795. Calibrated with the NTSC DVD version of Video Essentials.|
|Speakers||Energy Speakers: centre EXLC; left and right C-2; rears EXLR; and subwoofer ES-12XL|