Henley, Don-Live-Inside Job (2000) |
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Henley, Don-Live-Inside Job (2000) |
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| General | Extras | ||
| Category | Music | Main Menu Audio & Animation | |
| Rating |
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| Year Of Production | 2000 | ||
| Running Time | 104:52 | ||
| RSDL / Flipper | RSDL (55:04) | Cast & Crew | |
| Start Up | Menu | ||
| Region Coding | 2,4 | Directed By | Lawrence Jordan |
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Studio
Distributor |
 Warner Vision |
Starring | Don Henley |
| Case | Amaray-Transparent | ||
| RPI | $39.95 | Music | Don Henley |
| Video | Audio | ||
| Pan & Scan/Full Frame | Full Frame |
English Dolby Digital 5.1 (448Kb/s) English Dolby Digital 2.0 (224Kb/s) English dts 5.1 |
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| Widescreen Aspect Ratio | None | ||
| 16x9 Enhancement | No | ||
| Video Format | 576i (PAL) | ||
| Original Aspect Ratio | 1.33:1 | Miscellaneous | |
| Jacket Pictures | No | ||
| Subtitles |
French German Italian Swedish Norwegian Spanish Portuguese Danish Dutch Finnish |
Smoking | No |
| Annoying Product Placement | No | ||
| Action In or After Credits | Yes, Hotel California playing whilst credits roll | ||
The disc commenced with a 1:30 introduction where Don Henley gives a brief overview of what he has been doing for the last 11 years and what he hopes to get out of the live performance. Although it is not shown in the actual concert, there is a reference in the intro to this being a request night, where audience members ask for certain songs to be performed. References from other Internet sites seem to reinforce this, and also mention that the concert duration was quite a bit longer than is shown on this disc. It would appear that much of the audience interaction has been removed.
| 1. Dirty Laundry 2. Sunset Grill 3. Workin' It 4. Taking You Home 5. The Boys Of Summer 6. Lilah 7. Everything Is Different Now 8. The End Of The Innocence 9. All She Wants To Do Is Dance | 10. New York Minute 11. Talking To The Moon 12. They're Not Here,They're Not Coming 13. The Heart Of The Matter 14. Desperado 15. The Long Run 16. My Thanksgiving 17. Hotel California |
The transfer is presented in its original aspect of 1.33:1 it is therefore not 16x9 enhanced.
Sharpness is excellent with no hint of any edge enhancement. Shadow detail also never fails to impress, though it must be stated that this isn't what I would call adventurous concert lighting, so there are few patches of deep darkness or high brightness. There is no low level noise evident.
Concerts regularly play havoc with colours, but this transfer never skips a beat. As mentioned before, the lighting is not spectacular, but it is a nice warm transfer with plenty of rich reds. There is no issue with colour bleeding or oversaturation.
There are no evident MPEG artefacts, helped no doubt by the fact that the transfer rate was regularly stuck on 10Mbps.
Several subtitles are present, though English is not one of them. This is unfortunate since I often like to know what is being sung at times. This is not an issue on this disc as the subtitles don't appear during the songs anyway, only during the brief interludes between songs when Don Henley is talking.
This an RSDL formatted disc, with the layer change occurring at 55:04, perfectly placed at the end of All She Wants To Do Is Dance.
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The audio has been mixed very conservatively, with no separation of individual instruments or lyrics. The centre channel is almost a replica of the left and right channels, just at a lower level. The overall effect is like a wall of sound but I must admit I do prefer the bulk of the lyrics to come from the centre.
Dialogue is always crisp and clear and there are no apparent audio sync problems.
Surround channel use has been kept to a minimum. When I mean minimum, I mean virtually none. For those of you that don't like over-mixed and overdone surround soundtracks, this is the disc for you. The mixing engineers have been very conservative in their mix and for me that is a little bit disappointing. I at least like to hear the crowd behind me to give that 'front row feeling'. One track where this is distinct rear channel use is the opening of Lilah.
The subwoofer is nicely integrated into the overall sound mix, though it is more prominent in the Dolby Digital 5.1 than the DTS soundtrack. Some may prefer the more understated use, but like the surround channels, I prefer to know that my subwoofer is being used.
Overall, I had a strong preference for the default Dolby Digital 5.1 track. It is mastered at about 7dB louder than the Dolby Digital 2.0 and DTS tracks so you may want to turn it down a touch before switching between them. The Dolby Digital 2.0 is pretty basic, and I feel listeners without full surround capability would have been much better served by a PCM track, although I guess with the inclusion of excellent video and a Dolby Digital 5.1 and DTS track there just wasn't any room left for it.
The DTS track was certainly a disappointment. My wife commented that it sounded 'tinny' which isn't much of a compliment. It certainly lacked any bass emphasis and seemed to focus on the dialogue at the expense of the instruments. Have a listen to the difference in the piano during Desperado and you'll know what I mean.
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NOTE: To view non-R4 releases, your equipment needs to be multi-zone compatible and usually also NTSC compatible.
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| Extras |  |
| Plot | |
| Overall | |
| Review Equipment | |
| DVD | Toshiba 1200, using S-Video output |
| Display | Loewe Calida (84cm). Calibrated with Video Essentials. This display device is 16x9 capable. |
| Audio Decoder | Built in to amplifier/receiver. Calibrated with Video Essentials. |
| Amplification | Harmon/Kardon AVR7000. |
| Speakers | Front - B&W 602S2, Centre - B&W CC6S2, Rear - B&W 601S2, Sub - Energy E:xl S10 |