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

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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. Cinematographer Mandy Walker reportedly shot the entire film using a combination of ARRI ALEXA 65, LF, and Panaflex System 65 cameras with custom

Bigger Than Life: The Story of ELVIS“ (22 minutes, 23 seconds – HD) focuses on the man himself, Elvis Presley, and how this unconventional biopic pays tribute to his legacy as well as tells the story of his crooked manager. Here you’ll get lots of behind-the-scenes footage, on-set footage, clips from the film, footage from Graceland (in Memphis) as well as Elvis’s birthplace (Tupelo), and interviews with the following people: Baz Luhrmann (director, producer, writer), Austin Butler (Elvis), Tom Hanks ( “Colonel Tom Parker”), Catherine Martin (costume designer, production designer, producer), Schuyler Weiss (producer), Gail Berman (producer), Yola (“Sister Rosetta Tharpe”), Kevin Harrison, Jr. (B.B. King), Polly Bennett (movement coach, choreographer), Mark Coulier (prosthetics designer), Shane Thomas (hair and makeup designer), Jason Baird (prosthetics supervisor), Olivia DeJonge (Priscilla), Mandy Walker (director of photography), and Dacre Montgomery (Steve Binder). only quibble is that it seems mixed a few decibels lower than reference level, which includes the LFE channel, but listeners most will find this to be a Immediately you will undoubtedly notice that the height channels are used very tastefully for mostly the music and sound effects, to help build this large sound (as mentioned) which seems very fitting about this Atmos mix. The music here, all throughout, is driven primarily from the front left & right channel speakers, along with a very nice amount of rear channel presence, and (as mentioned) across the height channel speakers.It's clear he was a one-of-a-kind prototype musician who was there to change music forever. Unfortunately, like a lot of talented artists, they are easily manipulated by others which resulted in Tom Parker coming aboard and orchestrating a decades-long con on Elvis that prevented him from doing what he wanted. This ultimately led to his turmoil in marriage, his addiction to drugs, and lastly his untimely, sad death. There are great moments of rebellion, his love for his child and mother, and wanting to make the best music and live performance there ever was, which Luhrmann also spotlights as well. But with its long run time and constant flashy sequences, the film can inch away from the story at hand. Added my VPX7 LUT changer to darken the table (hold down LEFT CTRL while change with RIGHT CTRL). Including GI brightness adjustment. Use the LUT changer together with the day/night slider to give the table the level of darkness you prefer. It's not a total loss, of course: Austin Butler's lead performance is quite good for what was undoubtedly an intimidating pair of shoes to fill. Singing reasonably accurate portrayal of what you'll see on a properly calibrated setup -- and if you're upscaling to 4K, it may prove to be more impressive still.

A Digital Copy of the film is included via a paper insert with redeem code, which is compatible with either AppleTV (iTunes) or Vudu. One thing that really sets this film apart from any other biographies about Elvis is the fact that the actor here (Austin Butler) actually performed the songs himself for the most part mixed in with some of the real-life Elvis. As much as I love the 1979 TV Movie “Elvis” directed by John Carpenter, I can’t say that Kurt Russell performed those songs himself like in this 2022 film with Butler. That really sets it apart more than anything, aside from telling things from the narrative perspective of “Colonel Tom Parker” which is genius. It plays out a bit like some sort of “Sympathy for the Devil” of sorts, and again Hanks delivers one unforgettable performance here as what most would consider an unlikeable person or conceivably even villain. Bigger Than Life: The Story of Elvis (HD, 23 Mins.) - The main cast and crew discuss making this unorthodox biopic of Elvis with all of its amazement and hardships.Fit for a King: The Style of Elvis– Essentially the same as the others, though this one focuses on the costume design. 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.

Luhrmann's direction and the film's editing, there's just too much wrong (or at least off) to ignore. new rolling routine that now includes the ball shadow, the ball drop sound from Rothbauer and my ball speed control. There is only 49 minutes worth of extras here, not counting the 47 minutes of musical selections, but that doesn't really count, since it's just the movie. This collects talking head interviews of the cast and crew talking about making the film. In terms of audio quality, this Dolby Atmos mix almost feels like you’re getting to be at an Elvis concert during the latter half of the film comprised of the 1970s Las Vegas performances. This has some excellent use of the height channels that really help drive the music all throughout this very unconventional music biopic. Some use of modern music might catch some’s attention and feel a bit off but I personally found it to work. It’s a sound mix that’s as much larger than life as Elvis was, in my own personal opinion. 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. Elvis” [2022] on 4K UHD Blu-ray is presented in the 2.39:1 aspect ratio with HDR10, Dolby Vision, and HDR10+ forms of high dynamic range. The movie was shot digitally in 4.5K and 6.5K resolutions using the Arri Alexa 65 and Arri Alexa LF cameras with special Panavision Primo, Sphero 65, T-Series “Elvis” and Petzval Lenses. Essentially, what Baz Luhrmann describes is that they used different lenses for the three different decades that are primarily focused on Elvis Presley’s life here. The director actually said the following (below) in one of the extras included with this release. Elvis’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. We shot on 50s lenses, for the 50s, and then when we got into the 60s and 70s we went anamorphic because that was the go to lensing of the 70s.”— Baz Luhrmann