However despite the complex nature of the sound design itself, dialogue always remains clear and focused to the action on screen. In another scene two characters are talking underneath an elevated railway and you can hear the trains rumbling along overhead. So for example, in the shoot-out in the nightclub the music is coming from the speakers above, just as they are in the actual environment. In terms of ambience the addition of overhead channels gives environments a far more realistic presence and sounds often come from where they are in the film. The object-based approach to the sound mix means that effects are steered around in three dimensional space, whether that's in front, to the side, at the rear or above you laoreet. Once the action kicks off the the entire sound field springs to life with gunshots echoing around the room and zinging past your head. Almost as soon as the film starts a helicopter flies directly overhead and then there's a rain soaked funeral with raindrops falling down from above you. All the fantastic audio attributes mentioned by Cas above with regards to the 5.1-channel experience are equally as applicable in Atmos but with a whole new level added. Steve Withers reviewed the audio using a 7.1.4-channel Dolby Atmos setup - In much the same way as the film itself is a masterclass in action choreography, this Dolby Atmos soundtrack is a shining example of what a more immersive sound design can achieve.
The surrounds are in full force here, handling the munitions well, delivering the bullets and shells with power and precision, and tearing up your living room with a superior sound design that impresses even before considering the enhancement of Atmos.Īnother reference audio presentation to match the reference video Incendiary grenades ignite, whilst various sniper rifles deliver precision shots with devastating impact. Effects distinguish between the various different weapons, from the thundering handguns that prove Wick's weapon of choice, to the car-stopping shotgun and the myriad assault rifles. The soundtrack is tense and electric, a stomping score that both provides several distinct John Wick themes, and further brings the key action setpieces to life with electric electronic energy and LFE-infused beats. Dialogue - arguably the least important element - is still given keen prioritisation across the frontal array, to remain clear and coherent throughout. It's powerful, and precise - much like its protagonist - punching through its targets with outstanding use of the surrounds and all the weight that the LFE channel can bring to bear. Although fans who already have the Blu-ray will have been down this road before, there's no denying that the soundtrack is every bit as impressive as the video.
The high points come in any of the darker sequences and, considering the movie is mostly shot at night or in shadow-bathed settings, this is a real advantage, clearly distinguishing the 2160p look from its 1080p counterpart.Ĭas Harlow reviewed the Dolby TrueHD soundtrack on a 5.1-channel setup – John Wick also boasts an explosive Dolby Atmos track running off an excellent Dolby TrueHD 7.1 core. Although full 4K titles do not always equate to clear upgrades in terms of detail and clarity, John Wick certainly does, with a tangible uptick in resolution that leaves close ups even more impressive, and backgrounds peppered with finer nuances that are now more clearly visible. Shot digitally (admittedly partly at only 2.8K), it is one of those increasingly rare films that was privy to a full 4K digital intermediate, leaving it room to shine on the format in all its glory.
Now, this is the title that many UHD adopters have been waiting for.
The UHD Blu-ray was reviewed on a Samsung UE55KS8000 Ultra HD TV and a Samsung UBD-K8500 Ultra HD Blu-ray player. John Wick blasts onto US 4K Ultra HD Blu-ray with an excellent HEVC / H.265 encoded 2160p transfer framed in the movie's original theatrical aspect ratio of 2.40:1 widescreen.