As I mentioned in the comments of a recent post (link at the bottom of this article), I went back to see Amos Rozenberg’s film of the Avishai Cohen Trio concert—seems like I never pay! This time, my friend Thierry Fautier invited me.
On this second viewing, the immersive audio in the opening sequence stood out immediately—the audience sounds pulled me right in. When the music started, the mix felt more traditional (almost stereo) but retained depth and balance. As I said before, the sound mix wasn’t about showing off—it was about serving the music. Avishai’s bass was powerful yet never overwhelming, and the clarity of the high-pitched twangs as his fingers moved up the strings was remarkable. In some ways, the audio gave even more than the “being there” experience—details I probably wouldn’t have caught even from the front row.
Now, I’d love to hear this tech applied to a full symphony orchestra. Amos, how about a true Atmos recording of fifty musicians, with the same artistic intent rather than just a technical showcase?
Visually, the color grading set the perfect jazz club atmosphere—though the pianist’s skin tones occasionally leaned reddish. Not a big deal; this is a concert, not a documentary. 4K resolution truly shone in well-lit, stable shots. The deep shadows added realism, reinforcing the “live” feel, but also led to a loss of resolution. It’s a tricky balance—do we flood everything with light, wait for better cameras, or embrace these artistic trade-offs? Shots of the audience (except for one standout moment before the encores) fell short, likely due to low light and too much camera movement.
Speaking of movement, it remains a challenge for UHD. Tight shots of Roni Kaspi’s vibrant pink hair were mesmerizing in their detail—until she moved, and everything blurred. This reminded me of the early 4K demos 15 years ago, which were mostly in slow motion for a reason. We’ve progressed, but not quite enough, especially in low-light conditions.
Oddly, HDR’s promise of enhanced shadow detail didn’t fully materialize for me. In the final encore, when the lights dimmed, I noticed a peculiar effect—crystal-clear UHD in the periphery while the musicians looked more like HD at best. Strangely, I liked it—it flipped the usual cinematic focus dynamic. The way HDR handled reflections—especially on the pitch-black Steinway—was stunning, almost creating a double-pianist illusion.
Oh, and if you’re not into jazz but curious, this concert is a fantastic entry point. Avishai Cohen’s music is accessible, and when a piece like “Seven Seas” starts, any attempt at a tech review goes out the window—you just listen. The drum solo on second viewing? Even more intense, almost ecstatic. The pride in Avishai’s eyes, the look from the pianist to Roni at the end—that’s the magic you only get in a filmed concert.
In the end, this experience reaffirmed that Ultra HD shines when there’s enough light and controlled movement, and that Dolby Atmos, when used right, amplifies emotion rather than technology. What’s most exciting is that this film didn’t just flex tech muscle—it used it to serve the art. Once audiences get used to this level of immersion, there’s no going back. And then, maybe, we can start using the tech to push boundaries in new ways—subject for a future post.