Edge of Tomorrow Discussion & Poll - Closed

[nube 147]

Edge of Tomorrow (7.1 DTS-HD MA)

 

Level        - 5 Stars (113.59dB composite)
Extension - 5 Stars (9Hz)
Dynamics - 5 Stars (27.61dB)

Execution - 5 Stars (by poll)

 

Overall     - 5 Stars

Recommendation - Buy (by poll)

 

 

Notes:  The tones at the beginning are the highest level single tones I've seen in a movie.  If you have a commercial sub, or are gain matched, you'll probably be fine playing them at your normal levels.  If not, and especially if you run subs hot or have ported/IB subs without a strong HPF, be careful at the beginning. 

 

Lots of unfiltered content below 20Hz that gets masked in the graphs by those tones, but it's there.  Very good sound design overall, with only a little bit of clipping.  Mostly it's carefully limited, as seen in the waveforms below.  This is an example of being able to get the most out of the track when designing and mixing.  Very good movie.

 

PvA:

 

 

Clipping & Waveforms:

 

 

 

 

[MKtheater 57]

Let's see, great movie, lots of bass, and a scene to end all scenes although brief, how can you not vote 5 stars!

[bmoney 26]

Easy! Looks like we need to add another to the rare true 5 star movie!

[Toe 8]

Haven't seen the film yet so allow me to ask, but how would the track be rated if you take out the opening minute? If the opening minute did not exist, would people still be raving about the bass in this track? I personally don't like a track that blows it's best LFE load in the first minute because nothing else in the film is as good as the opening moment. Of course I will fully judge when I see it, but I would love to hear something else about the bass in this film besides the quick scene 30 seconds in.

[nube 147]

I think the rest of the movie's bass is very, very good.  Its design is careful and thoughtful.  I'd say it's pretty close to a 5 star for the rest of the mix, but we can't judge without the beginning, so those tones help because they're extreme.  The rest of the movie has a bunch of bass that's used to great effect.  It doesn't have the huge impact all the time, but it does have the full complement of what I'd expect from a 5 star bass movie.

[bao 3]

I voted 4 stars. The first 60 seconds are AWESOME!!! Walls and doors shake

Last night i tried to find some other good bass scenes (i can do 18Hz -3dB, 16Hz -10dB). Some great candidates would have been when the fat guy gets squashed, when Cage dodges the airplane crash rolling over his head but these didn't seem that deep. What about when the blue thing explodes at the end? Where are the other great bass scenes?

 

But the first 60 seconds made me scramble for the remote because i thought i had set something wrong in the system  

[Toe 8]

I think the rest of the movie's bass is very, very good. Its design is careful and thoughtful. I'd say it's pretty close to a 5 star for the rest of the mix, but we can't judge without the beginning, so those tones help because they're extreme. The rest of the movie has a bunch of bass that's used to great effect. It doesn't have the huge impact all the time, but it does have the full complement of what I'd expect from a 5 star bass movie.

Thanks Nube. So you can't measure the track without the opening minute? I would be curious to see it if you could and/or are willing to do it. No worries if not.

[Aj72 25]

Five star listing for mine.

[Rowan611 38]

5 star. Loved the movie. I've watched that first pulse as high as -14, sub setting at -7 through the AVR. I only have a single THT but it shakes the whole damn room, especially in the beginning; i know I miss the low low stuff.

[Kvalsvoll 114]

If the beginning is encoded full level in lfe and c channels this equals 120dB rms, or 123dB peak - adding 3dB since it is a square wave form with crest factor 0dB.

So there is still another 8dB to go for in the ultimate sub-wrecker, if you manage to put in full level 0dB square waves in all channels.

 

What you will measure during a real world playback situation depends how the system is calibrated (usually some dB hotter at low frequencies..), and phase shifts that will occur will make the peak level of the low-crest square wave to read higher.

 

I will buy this movie because of the reviews here on data-bass; the movie itself gets lot of nice comments, and the sound design is described as something I tend to find pleasing and good.

[maxmercy 422]

0dBFS levels in LFE + C Channel = 108dBpeak + 118dBpeak = 120.39dBPeak.  128.14dB is the maximum peak value available for a 7.1 system, not 131dB.  

 

Even so, 128dB is a hell of a spec.  Even when using correction for a smaller room (-7dB for most living rooms), that is still 121.14dB possible demanded output.  In practice, this has never been come close to, save for the loudest of films.  But those folks that think that 'my sub can do 115dB without a problem' can be in trouble with the right track playing....

 

Hopefully soon I'll put together a test disc that includes tonebursts with the 7.1 available maximum, to test any system's true capabilities, both in electronic and SPL headroom.

 

JSS 

[MKtheater 57]

Can someone run a spec lab of the last portion of the movie?  I don't want to give away any spoilers. 

[Rowan611 38]

Can someone run a spec lab of the last portion of the movie?  I don't want to give away any spoilers. 

 

Yeah, that last portion was pretty awesome!

[Bossobass Dave 263]

The beginning comes absolutely without warning and is as hot as the posted data shows. With amp headroom and no filtering beyond the signal chain rolloff, this little snippet is not to be trifled with and gets your attention.

 

I also give this movie 5 stars just for not playing some trite and boring pop song while rolling credits as a beginning for the movie. I always fast forward through that crap as it only serves to massage the egos of the people involved and serves only to destroy suspension of disbelief before the movie even starts from the perspective of the audience.

 

Besides, they roll the credits at the end of the movie anyway. I just can't stress enough how much I appreciated the fact that the movie just plays without interruption and a few seconds in WHAM!, your full and undivided attention is focused on the story. AWESOME.

 

I only did one cap, from chapter 11, but there are many scenes throughout the movie that, as Abraham notes, are extremely well done and fit nicely with the rest of the audio and visual:

 

 

I did an animated fade from the digital feed to the mic'd version of the the opening scene:

 

 

Besides the dip in FR at the seats at 60ish Hz, you can see the harmonics generated by rattling the snot out of my windows and other things in the room... and house. My wife was sitting at the kitchen table and said she could feel the effect on the kitchen floor in her feet. She said she got a queasy feeling for a sec or two, then she just laughed out loud.

 

That's running the system at reference and yielding around 6% THD (2HD of 20 Hz and 4HD of 10 Hz), whether it's system generated or room generated or both. In any case, it's LOUD.

 

I'm a long-time Cruise fan. As a young actor, he held his own opposite the likes of George C Scott, Paul Newman, Jack Nicholson and Dustin Hoffman. Since then he's made good movies and a few great ones. He does most of his own stunts and, at his age, some of the stunt work in this film is pretty freakin' amazing. He also stars in 3 of the all time great MWB, so 'nuff said.

 

This one's got it all; the Alpha Alien is fear-inspiring, the story is Groundhog Day on Acid, the CGI is top notch, the sets are excellent, the PQ is aces and the sound is amongst the best. No one's gonna convince me that this is not at least in part because Cruise is the star of the show.

[maxmercy 422]

I wonder if Cruise has any creative say-so or input into sound and visuals...or if he just shows up for the shoot.  Not sure it is just coincidence that WotW, Valkyrie, Oblivion, and now EoT have proper visuals and sound, despite having different crews.

 

Will check this out soon.

 

JSS

[Ken Wu 0]

Thank you all for the report. I haven't seen this film in commercial theater or at home. Both this and olympus has fallen have some serious amount of bass under 30hz which are not normally presented at commercial theaters. I am curious at how would the sound designer weighs so much bass at such low frequency. Wonder if anyone has the chance to watch in the theater?

[Kvalsvoll 114]

Just a a quick note on level, crest factor and signal waveforms:

 

A square waveform, like the low-freq signal at the beginning of this movie, has a crest factor of 0dB. 

That means the peak level and the rms is the same.

It also means the rms level is actually 3dB louder than a sine wave of similar peak level amplitude.

 

Using a square wf it is then possible to "extend" the dynamic range 3dB more, giving the possibility of a 118dB rms signal from the lfe alone.

When played back the peak level of this signal will be even higher, because the phase shift that will occur once the sound leaves the speakers changes the relationship in time between the different frequency compononets of the signal.

 

Also, if you filter away the first 3. harmonic you will see the peak level now actually increases 3dB, as the waveform look more similar to a sine wave, but with 3dB higher peak amplitude.

 

This is why I stated the signal is recorded at 120dB - this the peak level, but iot is also the rms level.

To play back this it is only needed to have headroom for 117dB rms/120dB peak - we use sine waves for specification and design.

 

So, square waves are great if you can not find the volume control, or you have a limited system.

For a sound effect, like in this movie, no problem. 

This same effect occurs when you process sound using limiters and compression - the peak level is reduced, the rms level increases, and some of the peak level is restored during playback due to phase shift, and it sounds bad.

[Kvalsvoll 114]

I wonder if Cruise has any creative say-so or input into sound and visuals...or if he just shows up for the shoot.  Not sure it is just coincidence that WotW, Valkyrie, Oblivion, and now EoT have proper visuals and sound, despite having different crews.

 

Will check this out soon.

 

JSS

Interesting observation.

[Audiofan1 3]

5 and buy!  it also gets my coveted " Pure Reference' pick and goes in my top 10 movies .

[bao 3]

This movie definitely gets a coveted spot in my BD library but i think i liked Oblivion a tiny bit better. The Oblivion visuals were stunning. But still mulling it over. Need to watch EOT again (and again).

Has anyone watched the 3D BD on a plasma?

[Spacebug 14]

 

Has anyone watched the 3D BD on a plasma?

 

I watched the 3D on a projector, thought it looked good aside from some slight ghosting but that is the projectors fault, not the movies...

 

Voted 5 and buy, great movie and what visuals and sound

 

 

[bao 3]

thanks - i have a good 65" plasma with the active eyewear so i'll give the 3D a shot

[Aj72 25]

This one has got to go down as an all time classic. Just rewatched and love that bass!

[Berdelsan 2]

I am a bit surprised that it being rated this high to be honest. I loved the movie but I found the bass to be slightly on the boring side and there were a lot of dialogue distortion/microphone noise through out most of the movie.

 

Pay attention to the background noise as the woman speaks. It is especially clear in the end of the clip when she says "Yes". The noise starts half a second before she says yes and ends after https://www.dropbox.com/s/dsnuif4gtf...0CLIP.mp4?dl=0

[Aj72 25]

I can see your sentiments somewhat Berdeslan. I just threw TIH in and gave the Abomination vs Hulk scene another run. That is a killer scene that goes for a long period, using a fair range of the bass frequency with authority. Now this scene is legendary and I played it just to get a feel for how some scenes in EOT compare. It does put things into perspective a little but I did enjoy how clean the bass was in EOT and this is what excited me the most about it. Turn it up and it keeps on giving.