Woodstock '99
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Details At A Glance
General
|
Extras
|
Category |
Concert Video |
Theatrical Trailer(s) |
None |
Rating |
|
Other Trailer(s) |
None |
Year Released |
1999 |
Commentary Tracks |
None |
Running Time |
149:03 Minutes |
Other Extras |
Menu Audio/Animation
Photo Gallery
Cast Interviews
Featurette - The Woodstock Vibe
Featurette - Spit Fire
Featurette - The Action Lounge
Featurette - The Vendors |
RSDL/Flipper |
RSDL (82:42) |
Cast & Crew
|
Start Up |
Menu |
Region |
2,4 |
Director |
Carol Dodds
Joe Friday
Stanley Flood
Milton Lage |
Studio
Distributor |
Epic Music Video
Sony Music Entertainment |
Starring |
Various Artists |
Case |
Opaque Brackley |
RRP |
$34.95 |
Music |
Various Artists |
Video
|
Audio
|
Pan & Scan/Full Frame |
Full Frame |
MPEG |
None |
Widescreen Aspect Ratio |
None |
Dolby Digital |
5.1 |
16x9 Enhancement |
No |
Soundtrack Languages |
English (Linear PCM 2.0, 1536Kb/s)
English (Dolby Digital 5.1, 448Kb/s) |
Theatrical Aspect Ratio |
None |
Miscellaneous
|
Macrovision |
? |
Smoking |
No |
Subtitles |
None |
Annoying Product Placement |
Apart from the bands, no |
Action In or After Credits |
No |
Plot Synopsis
When I was about six years old, I learned a lesson that
proved quite invaluable in years to come: if you try to recreate a string
of rather spontaneous events that took place on a day you remember fondly,
regardless of what that day consisted of, you are going to fail miserably.
Obviously, the organizers of Woodstock '99 weren't paying
attention when the first chance for them to learn this came around. So
what happens when you try to take an event that mostly happened by equal
parts accident and mismanagement, then try to recreate it to turn a profit
some thirty years later? You've got it in one - an embarrassment of the
highest magnitude. Times may change, but they do not change so radically
in the space of three decades that phonies can't be spotted. In case you're
interested, here is a rundown of the track listing on this DVD:
-
James Brown - Sex Machine (Get Up, I Feel Like Being A)
-
G. Love & Special Sauce - Cold Beverage
-
Jamiroquai - Black Capricorn Day
-
Lit - Four
-
Live - I Alone
-
Sheryl Crow - If It Makes You Happy
-
DMX - Stop Being Greedy
-
The Offspring - The Kids Aren't Alright
-
Insane Clown Posse - F___ The World
-
Korn - Blind
-
Bush - Everything Zen
-
Guster - Airport Song
-
Kid Rock - Bawitdaba
-
Everclear - Santa Monica (Watch The World Die)
-
Dave Matthews Band - Tripping Billies
-
Alanis Morissette - So Pure
-
Limp Bizkit - Show Me What You Got
-
Rage Against The Machine - Bulls On Parade
-
Metallica - Creeping Death
-
Chemical Brothers - Block Rockin' Beats
-
Brian Setzer Orchestra - Rock This Town
-
Everlast - Ends
-
Rusted Root - Ecstacy
-
Elvis Costello - Alison
-
Jewel - Down So Long
-
Sevendust - Bitch
-
Creed - Roadhouse Blues
-
Megadeth - A Secret Place
-
Red Hot Chili Peppers - Fire
Words fail me when trying to describe how second-rate
this line-up is. You have your tryhard Pungent Stench imitators
(Korn,
Limp Bizkit), your tryhard Janis Joplins (Alanis
Morissette,
Sheryl Crow), and of course your tryhard KISS
(Metallica), and a tryhard Public Enemy (Rage Against
The Machine). The only acts worthy of a listen I noticed in this line-up
were the indomitable
James Brown, and the Red Hot Chili Peppers,
who add a slightly spooky feel to the proceedings by closing with a very
lively version of
Jimi Hendrix's immortal classic, Fire. A
live album of Woodstock '99 was released a while ago, and
one reviewer cited the most telling moment of the show being when some
dork announcer gets behind a microphone and says "Drink a lot of water,
put a lot of lotion on, and if you're getting high, please don't overdo
it". He then goes on to say "Are we having fun?". Ummmm... no, m'kay?
Transfer Quality
Video
Well, obviously the stage lighting and the general logistics
involved in staging a three-ringed circus like this don't translate into
the best of video transfers. Keep that in mind, and you shouldn't be too
disappointed. The transfer is presented in an aspect ratio of 1.33:1 (Full
Frame), without 16x9 enhancement. It is in the NTSC format. The sharpness
is somewhat variable depending on the subject of the shot, but generally
there is enough detail in the transfer to keep the viewer happy. There
appears to have been some slight edge-enhancement around the heads of such
performers as Dave Mustaine, but these instances were the exception
rather than the rule. Shadow detail was non-existent, with the stage lighting
broadly focused over crowd and performers alike. There was no detail discernible
in the darker areas of the transfer, but these were few and far between.
Low-level noise appeared to be in some shots, particularly of the bands
on stage, but this was a relatively mild problem.
The colours were all over the place, with some skin
tones undersaturated, and others rather noticeably oversaturated. This
is mainly the fault of the photographic techniques used rather than the
transfer, but this is still quite concerning. No MPEG artefacts were noticed
at any point in the transfer, although some parts must have played hell
upon the compression. Film-to-video artefacts consisted of some minor aliasing
on some computer graphics that were inserted into the video at a later
time, and on the hard edges of some objects. Film artefacts were mild,
but noticeable in some frames, with quite a number of white flecks appearing
in the picture around the time of the layer change.
Speaking of which, this disc is presented in the
RSDL
format, with the layer change coming in at the end of Chapter 23, between
Limp
Bizkit's and Rage Against The Machine's performance, at 82:42.
This is a noticeable layer change, but not a very disruptive one, and it
sure beats the hell out of placing the layer change in the middle of a
performance. One last note: the Red Hot Chili Peppers' bassist,
Flea,
decided to play in the nude for their set, so if naked males put you off,
then you have been warned.
Audio
There are two audio tracks on this disc: an English
Linear PCM 2.0 track, and a Dolby Digital 5.1 track. Naturally, I took
a listen to the both of them, taking in the whole show in Linear PCM (the
things I do for you people), and sampling some of the better performances
in Dolby Digital 5.1 for good measure. The Linear PCM 2.0 soundtrack is
the default. The main difference between the two tracks is that the Dolby
Digital track sounds quite muffled and dull by comparison, with some variance
in the overall level of the soundtrack. The vocals are often a little recessed
in the mix, suggesting that the sound recordings were made with a less
than ideal number of microphones. In sharp contrast, Elvis Costello's
vocals came through as clear and sharp as a bell. Audio sync didn't seem
to be a problem, but the cameras seemed to be making an effort to avoid
shooting people's faces for one reason or another.
The music was culled from every MTV-sanctioned performer
in the USA whom the organizers could secure incriminating photos of. Obviously,
this effort came together with varying degrees of success. Not to put too
fine a point on it, the less commercial, clandestinely or otherwise, the
performers were, the better they sounded. Of course, the exceptions to
this rule were the elder statesmen of festivals, such as Megadeth,
Metallica,
James
Brown, Elvis Costello, and of course the Red Hot Chili Peppers.
All in all, you're much better off getting CDs of these artists and giving
them a whirl rather than picking up this DVD if it's the music you're after.
The surround presence in the Dolby Digital 5.1 mix
was passable, with all sorts of sounds coming out of each channel at all
times. Now, you would think this would translate into a good, immersive
mix, but as I hinted before, the Dolby Digital soundtrack is very muffled
and low, with the overall sound level occasionally heightening slightly
for reasons unknown. By comparison, the combination of the highly active
subwoofer and front speakers in the Linear PCM mix was far more immersive.
This is another example of exactly how a Dolby Digital 5.1 mix should not
be done. The subwoofer got quite a workout in the Linear PCM mix, adding
some oomph to the bass and drum sounds, but it was difficult to notice
during the Dolby Digital mix.
Extras
Ho hum.
Menu
The main and scene selection menus contain some animation
and audio, but is otherwise unremarkable.
Photo Gallery
A collection of stills from the show, with some annotation
to state who the subject of a given shot is. Nothing terribly exciting.
Featurette - Cast Interviews (11:06)
This contains short snippets of interviews with each
of the performers. It is nothing to get excited about, and that's the most
comment-worthy featurette of the lot.
Featurette - The Woodstock Vibe (2:26)
Featurette - Spit Fire (2:17)
Featurette - The Action Lounge (1:11)
Featurette - The Vendors (0:47)
R4 vs R1
From what I have been able to discern, this title is
not yet available in Region 1, which makes me wonder why we have been cursed
with the NTSC format.
Summary
Woodstock '99 fails as either a recreation
of the original Woodstock feel, or as an enjoyable music
festival. It is presented on a good DVD.
The video quality is as good as the original photographic
conditions allow.
The audio quality is good, until you listen to the
Dolby Digital 5.1 mix.
The extras are pretty ordinary.
Video |
|
Audio |
|
Extras |
|
Plot |
|
Overall |
|
© Dean McIntosh (my bio
sucks... read it anyway)
May 25, 2000.
Review Equipment
|
|
|
DVD |
Grundig GDV 100 D, using composite output; Toshiba SD-2109,
using S-video output |
Display |
Panasonic TC-29R20 (68 cm), 4:3 mode, using composite
input; Samsung CS-823AMF (80 cm), 16:9 mode/4:3 mode, using composite and
S-video inputs |
Audio Decoder |
Built In (Amplifier) |
Amplification |
Sony STR-DE835 |
Speakers |
Panasonic S-J1500D Front Speakers, Philips PH931SSS Rear
Speakers, Philips FB206WC Centre Speaker, JBL Digital 10 Subwoofer |