8.2 | / 10 |
| Users | 0.0 | |
| Reviewer | 4.0 | |
| Overall | 4.0 |
The concert was filmed on 7 May 2016, during a hugely successful European tour. Zimmer was accompanied by a band, orchestra and choir – 72 musicians in total – including guitarist Johnny Marr. The staging included a ground breaking light show, stunning visuals and a state of the art sound system. Zimmer himself performs on multiple instruments and gives introductory insights to many of the pieces during the concert.
Starring: Hans Zimmer, Tina Guo, Johnny Marr, Nick Glennie-Smith| Music | 100% |
Video codec: HEVC / H.265
Video resolution: 4K (2160p)
Aspect ratio: 1.78:1
Original aspect ratio: 1.78:1
English: Dolby Atmos
English: Dolby TrueHD 7.1 (48kHz, 24-bit)
English SDH, French, German, Spanish
Blu-ray Disc
Single disc (1 BD)
4K Ultra HD
Region A (B, C untested)
| Movie | 4.0 | |
| Video | 0.0 | |
| Audio | 5.0 | |
| Extras | 0.0 | |
| Overall | 4.0 |
Note: Hans Zimmer: Live in Prague
was released long enough ago on 1080 disc that the label offering it was still called Eagle Rock Entertainment (and in fact Eagle Rock is still
credited as the production entity in the opening). Eagle Rock rebranded itself as
Mercury Studios quite a while ago itself, and now some eight years after that 1080 release, is revisiting the title in 4K UHD. This review repeats
some of the information in my original 1080 review, as appropriate.
Hans Zimmer may be one of only a few film and television composers whose name resonates with large swaths of the general public, people who
might tend not to pay that much attention to so-called “below the line” credits when they’re watching their favorite movie or series. Zimmer had a
long performing history with various bands (he can be seen briefly in the now iconic “Video Killed the Radio Star” video by the Buggles), but
probably
really burst into the cinematic mainstream with his scores for Rain Man and
perhaps especially Driving Miss Daisy, a film whose bouncy theme
matriculated to any number of other uses, including trailers for completely unrelated films. By the time Zimmer won his sole Academy Award (so
far,
anyway) for The Lion King (in an award that might be likened to Elmer
Bernstein winning for Thoroughly Modern Millie, despite the
fact
that that film, like The Lion King, was a musical built on songs not by the award winning composer), he was certainly among the
leading lights of his generation, a light which has continued to burn brightly in such films as As Good as it Gets, Gladiator, Sherlock Holmes, Inception and Interstellar, all of
which
brought Zimmer Academy Award nominations (if never a second statuette).

- Driving (Driving Miss Daisy)
- Discombobulate (Sherlock Holmes)
- Zoosters Breakout (Madagascar)
- The Wheat / The Battle / Elysium / Now We Are Free
- Circle of Life (Prelude)
- King of Pride Rock (Reprise)
- Captain Jack Sparrow / One Day / Up is Down / He's a Pirate
- Why So Serious? / Like a Dog Chasing Cars / Why Do We Fall? / Introduce a Little Anarchy/ The Fire Rises
- Day One / Cornfield Chase / No Time for Caution / Stay
- Half Remembered Dream / Dream is Collapsing / Mombasa / Time

Note: This release does not include a 1080 Blu-ray, so these screenshots are taken directly from the 4K UHD disc and downscaled to 1080
and SDR. Color space in particular is therefore not accurate, and I recommend those interested to look at some of the screenshots in our old
Hans Zimmer: Live in Prague Blu-ray
review for a probably better representation of the palette. Since this release does not include a 1080 disc, the 2K video score above has been
intentionally left blank.
Hans Zimmer Live in Prague is presented in 4K UHD courtesy of Mercury Studios and Universal Music
Group with an HEVC / H.265 encoded 2160p transfer in 1.78:1. Unlike some kind of frankly curious other 4K UHD releases from Mercury which have
been in SDR, commendably the label is offering Dolby Vision and HDR grades, and those add measurably to the luster of what was already
at times a very impressive palette in the old 1080 version. Some of the cooler blue and blue-green tones utilized in particular really show some
nicely subtle highlights here. Detail levels are typically great in close-ups where lighting is decent. There is still a bit of a deficit in shadow detail at
times despite the HDR grades. What struck me as more apparent in the increased resolution here is that something approaching digital grain was
added, at least at times, and that contributes at least in part to some of the anomalies mentioned (with screenshot examples) in the 1080
presentation, and some of those are still on display here. Still, overall, I'd rate this as at least marginally more impressive than the old 1080 release,
and my score is 4.25.
This is a somewhat odd looking transfer at times, and I'm frankly not sure whether some of
what is on display is intentional tweaking of the image or some compression issues. Take a look at screenshots 6 and 10, for example, to see some
odd grittiness that almost does look intentional at some times, though that said, there are "instant" changes in clarity with a resultant lack of
"splotchiness" when cameras are changed that may argue toward the other possibility. Detail levels are typically quite high throughout this
presentation, though the director opts for a number of "arty" shots (like overhead placement of cameras), where the vantage point doesn't really
support that much in the way of fine detail. The palette looks good throughout, though the concert is often bathed in deep, cobalt blue lighting
regimens.

In a little bit of relatively recent history, in going back and looking at my original review, it seems like Hans Zimmer Live in Prague was at least one of the first, and to my recollection maybe the first ever, concert I reviewed with Dolby Atmos sound. Atmos tracks on live concerts are of course more common now, but this is still a fantastic sounding track that provides a clearly more spacious accounting of the music than the also included LPCM 2.0 track. While the actual concert sounds absolutely fantastic, with an almost palpable difference in amplitude and spaciousness noticeable between the Atmos track and the LPCM 2.0 track, I have to say that for the most part the Atmos channels tend to offer the spill of crowd noise more than any other single element. Zimmer's sometimes unusual orchestrations are presented with brilliant precision and clarity throughout this presentation, though, and the mix is extremely winning, offering both clear separation but also an organic wholeness in tutti passages. Subtitles in several languages are available.

There are no supplements included on the Blu-ray disc. The cardboard sleeve's left pocket encloses a nicely appointed insert booklet.

Do you pay attention to "below the line" credits? If you do, you may well already be a major fan of Zimmer's work, and while this concert almost inevitably leaves a lot of his scores by the wayside, what's here is delivered with passion and a certain amount of performance flair, especially by some of the band members. Video has a few minor stumbles, whether intentional or not, but audio is first rate throughout. If you didn't pick up the old 1080 disc, this 4K release is probably the way to go. Recommended.

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Double feature with Blue Planet
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4K Test Disc II
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Test Disc
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DVE HD Basics
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