The sound design in “Inglorious Basterds”

Green, Jessica (Author). "Understanding The Score: Film Music Communicating To And Influencing The Audience" The Journal Of Aesthetic Education 44.4 (2010): 81. RILM Abstracts of Music Literature

The director of photography Robert Richardson previously worked for Tarantino in both parts of Kill Bill and has won two Oscar for The Aviator and JFK. The film, shot with lenses anamorphic Panavision moves away from the visual style war movie titles filmed in recent decades, however characterized by highly detailed interiors and a great many sequences of visual warmth. As expected, high-definition transfer of the title is striking for its high quality. Retaining the original format scope aspect ratio of approximately 2.39:1, we offer an excellent level of detail that is evident for example in the opening sequence on the farm, or in the elaborate decorations that reproduce the occupied Paris Nazis. Also stresses the careful setting of the scope of the Basterds, with textures of bricks funds magnificent. Similarly, we can see every detail of the letters in a newspaper or a map in the background in the headquarters. In addition, the faces of the actors present a level of realism out of the common, seeing even the smallest nuances of the skin. Another positive aspect is the perfect color, with intense red for Nazi uniforms and flags for the film and tapestries. The shades are often warm, especially in the scenes of Paris - but it always retains a broad palette and blacks are solid and deep. Naturally, there is no film defects, but also retains a thin layer of grain that provides a look absolutely cinematic. The edges are sharp and well defined. No compression defects of any kind, either digital noise in the funds, thanks to a codec using MPEG-4 AVC with a bitrates (bitrates) media for the image of 21.2 Mbps. Even more difficult to process scenes such as fire, are to perfection.

Cox, David (August 20, 2009). "Inglorious Basterds Is Cinema's Revenge On Life". The Guardian (London: Guardian News and Media Limited)

Undoubtedly, this is one of the best displays we've seen to date on Blue-ray. The obvious advantage is also well-chosen soundtrack, full of music by Ennio Morricone, which Stands out as the wonderful scene assembled into a song by David Bowie. As for visual interest, it's just show and a world-class championship. Personnel are carefully thought out and refined; in addition to the specific awakening associations are just incredibly beautiful. Camera work also plays a key role in building up tension during long dialogue scenes. Approximation is used very sparingly at first, until the end of Tarantino serves a distinct series of details. This is a very simple measure, but very effective with a good sense of the director. Above all, watch assembly Sally Menke, who holds a wealth of film and directing digressions in check, not allowing the film to be very thin. Seemingly little has changed. Most of the acts of "Inglorious Basterds" begins with a long sequence of dialogue, which is ...