Avatar: The Way Of The Water – 4K Review
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Disney/Buena Vista | 2023
PG13 | 3hrs 12 min | Action | Adventure | Sci-Fi | Fantasy
HD | 1080P | 5.1 DTS-HD Master Audio
Native 4K | 2160P | HDR10 | Dolby Atmos | Dolby TrueHD 7.1 | DTS-HD Master Audio 2.0 | Dolby Digital 5.1
Aspect Ratio: 1.85:1
Staring: Sam Worthington | Zoe Saldana | Sigourney Weaver | Stephen Lang | Kate Winslet | Cliff Curtis
Directed by: James Cameron
Ratings & Reviews
Please see here for my comments on reviewing movies.
My ratings are simple being marked out of a maximum of 5+. My reviews are biased towards the technical production aspects of the film with brief comments about the story line. Extras, sorry, that’s just not my ‘bag’.
So what did the 4K HDR10 video look like? Reference and the 7.1 soundtrack? Almost reference with a level tweak.
Entertainment: 5-
Video: 5+
Audio: 5-
Technical Review – Native 4K UHD HDR10
Avatar: The Way Of The Water was captured digitally in the X-OCN RAW format at 4.0K by cinematographer Russell Carpenter using Sony CineAlta Venice Rialto 3D with Fujinon MK and Premier Cabrio Lenses plus Sony PXW-Z450 cameras. For this disc release it was finished as a 4K Digital Intermediate at the 1.78:1 aspect ratio but framed in a 1.85:1 aspect ratio and graded for HDR for this 4K release in HDR10 only. A 2.39:1 release is avilable for theatrical exhibition venues. This triple-layer BD100 disc has been well authored and shows no use of noise reduction or edge sharpening and no obvious compression artifacts or noise. The package also contains a BD 50 Blu ray HD disc with both DTS-HD Master Audio 5.1 and Dolby Digital 5.1 mixes, plus a redeemable digital code.
This movie is unique in that it switches between 24fps and 48fps depending upon the action. In reality this means that while the whole movie is played back at 48 frames per second, but some shots that are double framed so are effectively 24 frames per second. The overall effect is to make motion, in particular water motion, more “fluid like” – (see Gemini Man 60FPS). For some viewers whenever the movie downshifts from 48 individual frames per second to 24 duplicated frames per second, the image may momentarily look flickery, almost like a form of slow motion, as your mind adjusts to the dealing with repeated still frames. To be honest I never saw anything at any time.
The image soars onto your screen as a breathtaking, reference, HDR10 presentation. With the film shot in a high resolution format, this 4K release has stunning overall image clarity, with a dazzling display of crisp, razor sharp detail with refined texturing throughout. From the opening shots of the Interstellar Vehicle Venture Star (ISV), the various craft and gunships, the details of Pandoras floating mountains to the hand woven clothing and stitching, facial close-ups, fog, haze and even water filtered sunbeams, all provide excellent detail and definition. Human facial pores, wrinkles, eyelashes, hair strands and features are all finely rendered without any undue exaggerations. CGI rendered characters, Navi and sea/flying creatures and special effects integration and creation are outstanding (despite the occasional artificial looking moment), being organic and naturally fluid, having realistic textures, blending well with the real action shots and never looking soft. Effects like explosions, flying objects, debris, smoke and of course water are well integrated into the live action with no distractions.
Contrast balance was excellent throughout, from the brilliant uncompressed whites and blazing sun of the daylight exterior shots and dazzling specular highlights to the deep and noise free inky blacks of the opening space shots of the Interstellar Vehicle Venture Star (ISV) approaching Pandora, sun-down shots on Pandora and underwater fight sequences, all showing excellent low level and shadow detail. From the bold highlights that lend added realism to wave-tops, glistening skin, phosphorescence, starlight, explosions and flames to the nighttime glow of Pandora’s gas giant primary and the brightest bioluminescent moments, all sparkle and gleam with a true-to-live realism. All creating a very good dynamic contrast range and enhancing visibility of objects in both exterior and interior shots, creating an excellent depth of image having a impressive three-dimensional quality almost as if “looking through a window” at the action.
The color palette presents with a solid array of vibrant colors, well all of them actually! Color fidelity is excellent throughout with vivid and well saturated primaries and secondaries, all having good color depth and density, hues are bold and vibrant. From the opening space shots of the ISV, ship landings on Pandora producing bright orange, red and yellows engine thrust and fires, the absolutely gorgeous blues, cool blues, cerulean blues, violets, vegetation greens and teal tones, to the warmth of the many secondary hues in the red, purple and orange ranges and of course the numerous blue and green tones of the Omaticaya and Metkayina skin. Every color possible made a striking appearance at some time.
Human and CGI Skin tones and facial complexions looking wonderful throughout, with the clans of Omaticaya and Metkayina and various sea creatures all showing very good fine skin detail.
This video is visually stunning on all fronts, providing this years second top flight HDR10 reference image and giving Top Gun: Maverick a “run for its money”.
Audio – Dolby TrueHD 7.1
Avatar: The Way Of The Water flies into your room with an almost reference, Dolby Atmos mix that defaults to Dolby TrueHD 7.1 in my system. However, yet again Disney cannot get its levels correct and I needed an additional +4dB to get the impact I was used to, hence the “almost reference” rating. The soundtrack was thoroughly engaging during both emotional dramatic moments and the many action scenes, having solid bass, clarity and dynamics and delivering most of what you’d expect for a film this epic in scope.
The overall sound presentation is dynamic, with good sub involvement and excellent surround action. The soundstage is wide and surrounds are constantly active with ambience, directional cues and movement, delivering an active environment that drops the listener both into calm environments and action-packed sonic spectacles alike. Effects placement are accurate and natural, with plenty of movement in both the rear and side surrounds, together with ambient environmental effects consistently pulling you into the many locals and environments, like those underwater scenes, the chatter of various jungle creatures and the flying “ikran”. From those quieter, dialogue-heavy Pandora jungle sequences steeped in surrounding activity, falling water droplets, various wave/water effects to the roaring RDA engines, impactful gunfire and depth charges, flying bullets, body impacts and falling debris. All fill the surrounds pulling you into the scene and keeping you “in the mix”.
Sub action is deep and solid but really needed just a little more hard hitting, low-end, extension that this movie so deserves. At is raised level it managed to support the roar of the RDA jet engines, landing & sea craft, missiles, explosions and impactful gunfire, digging quite low. Imaging continuously feels broad and expansive following the action as it moves on and off-screen. Dialogue is always crystal clear and well detailed with an outstanding mid-range and solid front-center imaging and prioritization, providing good clarity and detail no matter how loud and aggressive the action.
Flushing out the soundscape and supporting the movie throughout its entire length, the films score, composed by Simon Franglen who picks up from the late James Horner, offers a good supportive mix, being seamlessly immersive and perfectly clear. Hitting a good balance between the dialogue and effects the score provides a light spill into the surrounds and very good integration within the soundstage.
An excellent audio track that compliments the reference video in every way.
Story Overview
Sixteen years after forcing the Resource Development Administration (RDA) to abandon Pandora, Jake Sully (Sam Worthington) having fully merged with his avatar and become the chief of his Na’vi forest clan is living together with his newfound family on the moon planet of Pandora. Together with his wife Neytiri (Zoe Saldana) they are raising several children their sons Neteyam (Jamie Flatters) and Lo’ak (Britain Dolton), daughter Tuk (Trinity Jo-Li Bliss), and adoptees Kiri (played by Sigourney Weaver) and Spider (Jack Champion), the human son of the late Colonel Quaritch (Stephen Lang).
With the earth on its final legs, the RDA return to Pandora determined to make it their new home. Having developed their own Avatars and implanted the memories of the dead marines from the previous battle, they are there to destroy Jake and his clan once and for all. Despite finding shelter with the aquatic Metkayina clan it is clear that the RDA and its “Blue Team” are not going to give up on destroying them all. It is therefore time for Jake and his family to work with the Neytiri and all Na’vi to once again join together and rise up to defend a world that is all theirs.
My 2 cents
This movie undoubtably sets a new high-water mark for CGI production and filmmaking. Its use of state-of-the-art CGI and graphics takes the production to a whole new level of enjoyment and there are just too many scenes that provide a stunning reference quality image to call them out. It will be interesting to see where the developing neural networks, machine learning and AI take movie making. It is quite clear why actors and support staff are concerned about their futures. Even the latest Matrix Resurrections used AI in parts to replace the likeness of Keanu Reaves, with his permission, in its production.
It might be a “tale as old as time”, but what a flight of Sci-Fi fantasy! A moderately entertaining story with reference grade video and almost reference audio, that actually kept me engaged for the whole 3hrs and 12mins. CGI effects just don’t get better than these (yet!).
I have to say that it didn’t take too long for me to confuse real with CGI. Eventually seeing the whole movie as just one production. However, despite what I considered was a terrific merging of real and computer rendered characters I was unable to “feel” any empathy or attachment to the many CGI Avatars as I often do for human actors. Feeling that they just didn’t portray “real” emotions with any impact. I just wonder how long it will be before a more “human” avatar is AI computer rendered.
Highly recommended.
Purchase from Amazon here.
