![]() ![]() ![]() The costume department on Dunkirk did an amazing job with the wardrobe throughout the cast, and a good TV will give a wonderfully realistic, thick and coarse feel to the army fatigues and a genuine sense of handmade stitching to the leather. Of course, it’s the shading of the clouds and the sea that are the most obvious things to look out for but the texturing of the pilot’s outfits is a superb opportunity for your TV to shine. The best sequences to look out for are those in the Spitfires. Texture, colour, contrast, motion control, light and dark detail - this film pushes it all and, shot in IMAX, much of it fills your whole screen too with no letterbox black bars at the top or bottom. Such are the limited locations and the way that this film is cut together, that almost any chapter of this wartime epic is an excellent test picture power. Get it wrong and you won't be able to appreciate the many layers within the image.ĭetail and clarity will also get a workout as, despite the prevalence of orange, you should be able to make out the details on K’s (Ryan Gosling) face as well as the erosion of the battered surfaces and cracked statues that surround him. ![]() ![]() 2049 has a rich, textured look and striking use of lighting techniques throughout and none is that more apparent than in the impressive Las Vegas scene.Ĭovered with the fallout of a dirty bomb, the rusty orange haze of the Las Vegas setting should provide a good test of your TV’s control over tint and hue. Use of HDR appears to be minimally applied it’s the use of Wide Colour Gamut ( WCG) that takes centre stage here. Denis Villeneuve’s belated sequel to Ridley Scott’s masterpiece is very much its own beast and while the original benefitted from Jordan Cronenworth’s neon-dipped visuals, 2049 brings its ‘A’ game with Roger Deakin’s Oscar-winning cinematography. ![]()
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