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|Category||Star Trek||Teaser Trailer
|Year Of Production||1991|
|RSDL/Flipper||RSDL (65:21)||Cast & Crew|
|Start Up||Language Select Then Programme|
|Region Coding||4||Directed By||Meyer, Nicholas|
|Pan & Scan/Full Frame||None||English Dolby Digital 5.1 (448Kb/s)
Spanish Dolby Digital 5.1 (448Kb/s)
French Dolby Digital 5.1 (448Kb/s)
Italian Dolby Digital 5.1 (448Kb/s)
|Widescreen Aspect Ratio||2.00:1|
|Original Aspect Ratio||2.35:1||Miscellaneous|
|Annoying Product Placement||No|
|Action In or After Credits||No|
Star Trek VI sees the Klingon moon Praxis explode, causing depletion of the ozone layer on the Klingon's home planet - certain death for the Klingon race in 50 years unless they are evacuated from their planet. They sue for peace, and a meeting is arranged for their ambassador. James T. Kirk (William Shatner) and his crew are assigned as escorts for the Klingon ambassador.
Unfortunately, plans go awry when the ambassador's ship is attacked, seemingly by the Enterprise, and the ambassador is killed, an act for which Kirk is held accountable. It remains for our intrepid crew to unravel exactly what happened, find out who was behind it and to put matters right in the Star Trek universe one last time.
The transfer is presented in a (measured) aspect ratio of 1.95:1. This differs from the original theatrical aspect ratio of 2.35:1, and appears to have been achieved by side-cropping, making some of the scene compositions a little tight. As mentioned previously, the transfer is not 16x9 enhanced.
The overall sharpness of this transfer is good, with plenty of reasonably fine definition in the foregrounds of the image. Backgrounds and long shots do not fare as well, and the lack of 16x9 enhancement shows up in the lack of fine detail in many backgrounds and long shots, particularly on the Enterprise with its finely-detailed sets. Shadow detail is merely average. Many shots show little definition in their background shadows, such as at the first Federation conference discussing the explosion of Praxis - here the darker uniforms worn by some of the attendees tended to blur into the background of the image. This pattern is repeated throughout the movie, sometimes deliberately (the judge at Kirk's trial), sometimes not-so-deliberately (any dark shot on the Enterprise). Low level noise is thankfully absent from the darker portions of the image.
Colours are nicely rendered in this transfer. In common with previously-reviewed Star Trek DVDs, the colours of the Enterprise and its crew are vibrantly portrayed on this DVD. Striking use of colour is made on the surface of the prison planet, and it was pleasing to note the lack of chroma noise in the near-full-field purples and blues of these scenes, colours notorious for causing problems with chroma noise.
There were no MPEG artefacts seen. Aliasing was, however, a minor but significant problem for this transfer. Previous Star Trek DVDs have all been 16x9 enhanced, which helps enormously where this artefact is concerned, but here the sharp lines of the Enterprise shimmered away often, with no enhancement to minimize it. Don't get me wrong - the aliasing wasn't bad, but it was considerably more noticeable than on previous Trek DVDs. On a more positive note, the element that this transfer was taken from was in very good shape, with minimal film artefacts marring the image.
This DVD is RSDL
formatted, with the layer change occurring at 65:21.
It was minimally jarring.
Dialogue is reasonably clear and easy to understand, although it often takes on a somewhat muffled and dated sound about it. It has been aggressively isolated to the center channel which aids dialogue intelligibility considerably. Occasionally, shouted lines are slightly distorted. I noted no audio sync problems.
The music by Cliff Eidelman left little impression on me, seeming like fairly standard Trek fare. Suitably action-oriented and strident when necessary and soft and emotional when necessary, it did an adequate job of accompanying the on-screen action without being overly memorable.
The surround channels saw moderate use, although this varied from scene-to-scene. Occasionally, the soundfield would collapse into the center speaker, but this did not occur often. More usually, a wide front soundfield was created, with music utilizing the rear channels for added ambience. Some scenes saw a more immersive soundfield created, such as Kirk's trial and the prison planet, and action scenes utilized the entire soundfield, but I don't recall hearing any split surround effects as such.
The subwoofer was nicely integrated into this soundtrack.
Never calling attention to itself, it just added that needed "oomph" when
|Surround Channel Use|
© Demtschyna, Michael
(read my bio)
Tuesday, June 12, 2001
|DVD||Denon DVD-3300, using RGB output|
|Display||Loewe Art-95 (95cm). Calibrated with the NTSC DVD version of Video Essentials.|
|Audio Decoder||Denon AVD-2000 Dolby Digital decoder and Denon AVD-1000 dts decoder. Calibrated with the NTSC DVD version of Video Essentials. Calibrated with the NTSC DVD version of The Ultimate DVD Platinum.|
|Amplification||2 x EA Playmaster 100W per channel stereo amplifiers for Left, Right, Left Rear and Right Rear; Philips 360 50W per channel stereo amplifier for Centre and Subwoofer|
|Speakers||Philips S2000 speakers for Left, Right; Polk Audio CS-100 Centre Speaker; Apex AS-123 speakers for Left Rear and Right Rear; Hsu Research TN-1220HO subwoofer|