|Year Released||1997||Commentary Tracks||None|
(not 90 minutes as stated on the packaging)
Warner Vision Australia
|Pan & Scan/Full Frame||Full Frame||MPEG||None|
|Widescreen Aspect Ratio||None||Dolby Digital||5.1|
|16x9 Enhancement||No||Soundtrack Languages||English (Dolby Digital 5.1, 448 Kb/s)
English (Linear PCM 48/16 2.0, 1536 Kb/s)
|Theatrical Aspect Ratio||1.33:1||
English for the Hearing Impaired
|Annoying Product Placement||No|
|Action In or After Credits||No|
The presentation is Full Frame, with an aspect ratio of 1.33:1 and it is not 16x9 enhanced.
The image ranges from extremely poor and soft, to reasonably sharp and clear. Shadow detail is generally quite good. Low level noise is always apparent and appears designed to be so.
Colours during the higher quality concert shot are vivid and oversaturated. At other times they are pale and washed out.
There were no MPEG artefacts of any kind during this movie. A couple of quick shots did have compression artefacts, but these were from the poor quality sources and not the transfer.
There were no film-to-video artefacts to speak of.
There are two audio tracks, a Dolby Digital 5.1 track on one side of the disc, and a Linear PCM 48KHz/16 bit track on the other. I listened to the Dolby Digital 5.1 track, and did spot comparisons with the alternate PCM track. Apart from the obvious lack of surround presence in the PCM track, to my surprise I found little difference between it and the 5.1 track in terms of quality or clarity.
Basically, the quality falls into two distinct camps, either being excellent or poor. This is unfortunate to my mind, but in keeping with the design.
There were no problems with audio sync during the video.
When the music is good, it is very good. The drums have that typical live sound, being a bit thin on the snare, and deep with the kick drum, and with plenty of reverb for ambience. Bass comes across very tight and controlled. Alanis's vocals were strong and clear. At other times, the sound collapses to a single speaker and goes distinctly lo-fi. This can happen many times during a song, but some are spared this and your are allowed to enjoy the performance. A true fan of her music will not have too much of a problem with this, as the lyrics and music is strong enough to carry through any kind of reproduction. I would have much preferred less cutting and pasting, but this is personal taste.
During the quality moments, surround presence is exceptional on the 5.1 track. The crowd roars and applauds all around, and the ambience of the live environment is reproduced with great effect. Comparing this with the PCM track at the same time is enough to convince me that all concerts should have this treatment. Dolby Digital may not be preferred for studio recordings where high-fidelity is sought, but it is well adequate for live recordings and essential in reproducing concert ambience.
The subwoofer was given a great workout at times, and added vital punch and weight needed to simulate a live sound.
The video quality is extremely variable, ranging from very poor to reasonably good.
The audio is of the same variable quality as the video.
No extras. Nil.
|DVD||Panasonic A350A; S-Video output|
|Display||Pioneer SD-T43W1 125cm Widescreen 16x9|
|Audio Decoder||Internal Dolby Digital 5.1 (DVD Player)|
|Amplification||Sony STRDE-525 Dolby Pro-Logic / 5.1 Ready Receiver, 4 x Optimus 10-band Graphic EQ|
|Speakers||Centre: Sony SS-CN35 100 watt, Main/Surrounds: Pioneer CS-R390-K 150-watt floorstanders, Subwoofer: Optimus 100-watt passive|