Elvis [4K UHD] [Blu-ray] [2022] [Region Free]

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moments without necessarily feeling overcooked, and regularly reaches into the rear and Atmos-exclusive height channels at opportune moments. My Alongside that, Luhrmann makes an awful lot of use of sound effects and there’s a beautiful dynamic range to them, again utilising the same balanced tonal mix of the music. Add in the perfectly captured dialogue that’s always clear (when it should be – some of Elvis’s songs have dropped words and slightly muffled lines, but that’s in keeping with the performance aspect of the design) and all three elements are in perfect harmony, delivering a wonderfully complex and layered mix that is an effortless and delightful listen. All along the way, you’ll feel a very deep amount of bass in the speakers as well as strong LFE coming from the subwoofer. This sound mix is just massive and really pulls you right into the story as well as most obviously the unforgettable musical experience. This is one of the finer Dolby Atmos mixes that I’ve heard. Dare I say, this is a mix fit for a King. Lastly, you get over almost an hour of extras here on the Blu-ray Disc. They’re all very informative and worthwhile and I totally suggest them. However, for a film this large about an artist this significant it feels like they should maybe have included more historical footage or performances by the real Elvis Presley. But you can find all of those on DVDs and Blu-rays such as the must-see 1970 music documentary/concert film that Elvis did for MGM called “That’s the Way It Is”— which this film features plenty of recreated material and even audience footage blended in.

who reached incredible highs and lows during his all-too-short 42-year life, make for a solid anchor that helps to hold large portions ofPlot: What’s it about? Video: How’s it look? Audio: How’s it sound? Supplements: What are the extras? The Bottom Line Plot: What’s it about?

Dialogue, starting with narration, is delivered distinctly from the center channel and mixed perfectly balanced, with zero need for any volume adjustments to be made throughout. Sound effects get mixed into the front and rear channels, not just the height channels (again, as mentioned) and it creates one massive audio experience here. Again, fitting for the person the film is about. It’s a sound mix that is larger than life, perhaps like the unique sound that “The King” provided us with before he left the building for good. Hearing a movie is just as important to be on physical media as it is for the visual perspective, especially for a musical biopic.

added an extra help to complete the "Blue Suede Shoes" loop. Thanks rhoogeveen to remind me to add those extra lines to the script.

removed workarounds for the vpinmame droptargets as they fully support SSF (hit sounds) with the latest vpinmame. Musical Moments (19 clips, 46:19 total) - Think of these as song chapter selections; all of the performed songs andElvis’s parents, Vernon Presley ( Richard Roxburgh) and Gladys Presley ( Helen Thomson), want their son to be happy and are very supportive of his pursuit to be a musical performer as we see here in the film. Things are a bit rough at first for him, as he gets a bit nervous before performances and in turn, gyrated his hips and shook his arms and legs to the music. This caught the attention of audiences early on and also caused some obvious controversy. Fit for a King: The Style of ELVIS“ (8 minutes, 2 seconds – HD) features behind-the-scenes footage, on-set footage, and interviews with the following people: Catherine Martin (costume designer, production designer, producer), Austin Butler (Elvis), Olivia DeJonge (Priscilla), and Baz Luhrman (director, producer, writer). youth to the star-making concert during which he first met "Colonel" Tom Parker and, of course, the much more grandiose stage shows that frequently Viva Australia: Recreating Iconic Locations for Elvis– If you’ve ever been to Graceland you’ll see the amount of detail that went into the production design for this film.

As mentioned, Baz Luhrmann co-wrote the story itself here (with Jeremy Doner) and then collaborated with a few other writers on the screenplay. Doner is known for working as a writer on some episodes of TV shows such as “The Killing” (2001) and “Damages” (2007). Both of the other co-writers on the screenplay [Sam Bromell and Craig Pearce] have worked with Baz on past projects. Namely, Craig Pearce also co-wrote the screenplays for “Strictly Ballroom”, “Romeo + Juliet”, “Moulin Rouge!”, and “The Great Gatsby”. And Sam Bromwell had co-written numerous short films that Baz Luhrmann directed over the years. The mixing of the songs is nigh on perfect – the bass and its use of the LFE channel is tight and deep, but fast and never resorts to booming or overt spot blasts of LFE. The midrange has a fantastic body and depth to it, giving the detail of each instrument and Butler’s energetic and raspy vocals (complete with all the little details of a live performance) room to be easily discerned, while the crisp highs puncture through with clarity and crispness. It’s a wonderfully musical mix. So many tales (apocryphal or otherwise), so much footage, so many fans and so many who will claim to already know the life of the man simply known as ‘The King’.an image evocative of a classic cinematic appearance. With the addition of artificial film grain, the illusion is even more convincing. Still, this is So, that means first with the 1950s, then with the 1960s and 1970s decades the lenses changed to give it a unique visual style. The movie then received a 4K DI (digital intermediate) master.