|Category||Animation||Theatrical Trailer(s)||Yes, 1 - 1.66:1 non-16x9 enhanced, Dolby Digital 2.0 (mono)|
|Year Released||1968, 1998||Commentary Tracks||Yes, 1 - John Coates (Production Supervisor) with additional comments by Heinz Edelmann (Art Director)|
||Other Extras||Main Menu Animation & Audio
Scene Selection Animation & Audio
Isolated Music Score
Featurette-Making Of: Mod Odyssey (7:38)
Storyboard Sequences - 3
Gallery-Original Pencil Drawings
Gallery-Behind The Scenes Photos
|Start Up||Language Selection then Menu|
Warner Home Video
|Starring||Sgt. Pepper's Lonely Hearts Club Band|
|Pan & Scan/Full Frame||None||MPEG||None|
|Widescreen Aspect Ratio||1.66:1||Dolby Digital||5.1|
|16x9 Enhancement||No||Soundtrack Languages||English (Dolby Digital 5.1, 448Kb/s)
English (Dolby Digital 2.0 mono, 192Kb/s)
German (Dolby Digital 5.1, 448Kb/s)
Italian (Dolby Digital 5.1, 448Kb/s)
English Audio Commentary (Dolby Digital 2.0 , 192Kb/s)
Isolated Music Score (Dolby Digital 5.1, 448Kb/s)
|Theatrical Aspect Ratio||?1.66:1 ?1.85:1||
English for the Hearing Impaired
German for the Hearing Impaired
|Annoying Product Placement||No|
|Action In or After Credits||No|
Whilst this is the basic plot, the actual enjoyment of this film comes from the very meandering way it goes about realizing its plot - the fun is in the way it gets to where it is going, rather than where it actually goes. There are lots of bad puns, wry British humour, caricatures of stereotypes, and lots of great Beatles music, and it holds up surprisingly well considering that it is over thirty years old.
This transfer is presented at an aspect ratio of 1.66:1. It is not 16x9 enhanced. I would presume that this was the original theatrical aspect ratio of this movie, though one American reference I found to this film stated that it was presented in an aspect ratio of 1.85:1, which may have been the American aspect ratio, cropping the top and bottom of the frame.
The transfer was generally sharp and clear, though certainly not in the league of current generation transfers. For a thirty year old film, however, it looks remarkably good. White level was a minor problem, with whites tending to be slightly off-white or grey rather than pure white. This is likely to be a source material issue rather than a mastering issue. Shadow detail of the few lives shots was lacking, and there was some mild low level noise in the live shots, but nothing overly concerning.
Typically, the colours were vibrant and strong. At times, however, they were a little uneven - once again this is more likely to be the fault of the original source material rather than of this transfer.
No MPEG artefacts were seen. Aliasing was present at times, with closely spaced lines being the main culprits. This was quite problematic for brief sequences, such as for the Nowhere Man record-playing sequence, but overall it was not a major problem. Some jerkiness was seen in the animation, but this was apparently present in the original source material. Film artefacts were seen, but they were surprisingly rare.
This disc is an RSDL disc, with the layer change placed in Chapter 11 at 24:42. It is very well placed during a natural fade-to-black and a natural silence in the soundtrack which makes the transition all but unnoticeable.
The second audio track is the original mono film soundtrack, and I compared this track with the remastered 5.1 track in selected portions of the disc. Unlike most other 5.1 remasters of older films, this is an exemplary remaster, with the surrounds being quite well utilized.
Dialogue was quite clear and easy to follow, though at times it was a little muffled and distorted. It was much clearer in the 5.1 track than it was in the original soundtrack.
There were no audio sync problems.
The score by George Martin and The Beatles comprised a combination of songs from the Sgt. Pepper's Lonely Hearts Club Band album and original compositions from George Martin. Clearly, since the animation was inspired in large part from the music, the music suits the on-screen action aptly.
In contrast to the majority of 5.1 remixes of old film soundtracks, this one utilizes all 5.1 channels surprisingly effectively. Most of the time, a 5.1 remix means that the music is placed in the left and right front channels and the dialogue in the center channel, with the surrounds and subwoofer remaining silent. This is not the case with this remix. All 5.1 channels are utilized for this remix, with music being placed throughout the soundfield, and special effects also being placed throughout the soundfield. Admittedly, the majority of the sound effects are panned mono sound effects, but to hear them appear throughout the soundfield instead of just in the center channel is a pleasant surprise. Ambience is effectively used at times to create a feeling of spaciousness.
The .1 channel got moderate use with the music.
The video quality is extremely good considering the age of the source material.
The audio quality is remarkably good for a 5.1 remix from a mono and stereo source.
The extras are very good.
© Michael Demtschyna
26th September 1999
|DVD||Pioneer DV-505, using S-Video output|
|Display||Loewe Art-95 95cm direct view CRT in 4:3 mode, via the S-Video input. Calibrated with the NTSC DVD version of Video Essentials.|
|Audio Decoder||Denon AVD-2000 Dolby Digital AddOn Decoder, used as a standalone processor. Calibrated with the NTSC DVD version of Video Essentials.|
|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; Yamaha B100-115SE subwoofer|