|Running Time||89:23 Minutes|
Warner Home Video
|Pan & Scan/Full Frame||Full Frame||English (Dolby Digital 2.0, 256 Kb/s)|
|Widescreen Aspect Ratio||None|
|Original Aspect Ratio||1.33:1||
|Subtitles||None||Annoying Product Placement||No|
|Action In or After Credits||No|
The transfer is presented Full Frame, and it is not 16x9 Enhanced. The transfer is reasonably sharp, but never so much so that it doesn't remind me of why I no longer watch more than two hours of standard television in a week. The shadow detail of the transfer is vague, but most of the transfer is brightly lit. Low-level noise is once again a slight problem with some shots of this transfer, with the occasional large expanse of colour being noisy and uneven.
The colour saturation in the actual programme is reasonable, but that Lifetime Vision Limited logo raised alarm bells for me by being even noisier and uglier than before. Thankfully, noise is only a mild problem in the rest of the feature, although it is still present to a small extent. Overall, the colour saturation is cleaner and more natural than the previous two episodes in this series, but it still could be better.
MPEG artefacts are less of a problem for this transfer, although the bitrate is still unusually low for a programme of this length. Some posterization is apparent in skin tones from time to time, but otherwise, this is a much more natural-looking transfer than the previous discs in the series. Film-to-video artefacts are not a problem in this transfer, although the slightly better resolution of this transfer leads me to believe that this particular episode was captured on film. Film artefacts consisted of some flecks and scratches on the transfer, but these were occasional and mostly slight.
The score music by Robert Hartshorne and Graham Jarvis leads me to ask a single question. How on earth can you get two composers to work on a score for the same piece of film, and get it to be so unmemorable that you're hardly aware that you're hearing it? As with the score in the previous episode of this series, this score can be described as elevator music, with little or no real relevance to the onscreen action.
Once again, the surround channels were not used by this soundtrack, even to support the usual noises associated with this type of programming. The stereo activity of this soundtrack is a little more separated, but not by a great deal, so it is still quite a stretch to call this soundtrack anything other than separated mono. The subwoofer received a very small amount of redirected signal from the fronts, but it hardly produced anything more than an indistinct rumble.
The video quality is passable.
The audio quality is acceptable.
There are no extras.
|DVD||Grundig GDV 100 D, using composite output; Toshiba SD-2109, using S-video output|
|Display||Samsung CS-823AMF (80 cm), using composite and S-video inputs, calibrated using the NTSC DVD version of Video Essentials.|
|Audio Decoder||Built In (Amplifier)|
|Amplification||Sony STR-DE835, calibrated using the NTSC DVD version of Video Essentials.|
|Speakers||Yamaha NS-45 Front Speakers, Philips PH931SSS Rear Speakers, Philips FB206WC Centre Speaker, JBL Digital 10 Active Subwoofer|