Billy Lynn’s Long Halftime Walk was filmed digitally using the Sony CineAlta F65 camera at 120 frames per second (fps), in 3D with 4K resolution and finished using a 4K Digital Intermediate (DI), and which formed the basis for this
Ultra HD Blu-ray release. The film is presented as widescreen 1.85:1 aspect ratio at 60 fps, uses 10-bit video depth, a
Wider Colour Gamut (WCG) and
High Dynamic Range (HDR) and is encoded using the HEVC (H.265) codec. We reviewed the Region free US Ultra HD Blu-ray release of
Billy Lynn’s Long Halftime Walk on a
Panasonic 65DX902B Ultra HD 4K TV with a
Samsung UBD-K8500 Ultra HD Blu-ray player.
At a native resolution of 4K and at 60p (a first for the format) this is certainly a unique viewing experience. The image on show is nothing short of remarkable, as it should be, this being the pinnacle of current home cinema technology, with everything gelling together to form something truly special. Detail is out of this world, nothing is lost, everything is pin sharp from the tears streaming down Billy’s face in the halftime show, to the dust on his desert fatigues during the battle scenes; to say it’s like being there is no hyperbole – the way Lee moves his camera, the framing of the shots, the POV indications, you
are there involved, immersed and engaged with the picture. Every skin defect is visible, every stitch in clothing is there, the grass of the playing field, the scaffolding of the stadium, the cracks in the walls, the bark of the trees, the dents in the vehicles there is simply nothing that is left for the imagination.
The higher dynamic range comes into play to add further realism to the image, blacks add the depth, whites bring it to the fore, the wider colour space allows every natural range to be visible, from the greens of the dress uniforms to the blues of the cheerleaders' tops. The spectacular halftime show (which is seen from the perspective of the participants) is stunning, the fireworks pierce the blackness with no hint of wash, bleed, separation or smear; the lights are crisp and penetrating and those illuminated appear stark. Then we come to the frame rate which adds another sense of realism to the movement that, again, places you next to those on screen; the camera
flows and the motion of those on screen is real, and in every respect this is a stunning experience.
But.
So here’s where we enter preference. Everything above is true; you have never seen anything quite like it – it
is a unique visual experience. And I simply did not like it. It was too real, too visually stimulating; there was that ‘it looks like video’ nagging element, and the way Lee frames at times seemed comical, such as face on to the character as they talk to the screen; the whole thing, to me, was
distracting –
it doesn’t look like film. And that is the crux of the matter as far as I am concerned; I failed to engage with the story because I couldn’t get past the image. The 1080p Blu-ray, included in the set, has a reference image, through and through, as whilst it doesn’t have any of the bells and whistles above, what it does have is that
film like experience enabling me to forget the visuals and engage with the story.
There is no denying that the 4K UHD image as presented is a stunning visual feast, and it truly deserves to be seen for what can be achieved; however whether or not, as an individual, you can connect with it emotionally to draw you into the story,
that is another question.