Some Fall 2008 TV series have been getting lots of water cooler time (True Blood); others have barely raised a bubble (Fringe).
But for proud owners of top-notch flat panels and the most immersive surround systems, there's a greater measure of greatness: the HD Factor. Which shows best showcase your TV's "like looking out a window" aptitude? Or its Technicolor dreamcoat chops? And which series will race your speakers like Ferraris on the salt flats?
This past week, I sat down, fired up my DirecTV receiver, and dug through dozens of network hits and duds to figure out which fall season shows deliver the best HD picture and sound. I was bummed by the absence of a few reliable high-def standouts like Lost and Battlestar: Galactica (both of which return in '09), but I’m happy to report I found plenty of other shows to fill the void — seven in particular really did it for me.
So sit back, ready those DVRs, and enjoy the best HD programming the fall season has to offer, counting down from No. 7.
When I learned Showtime was taking HBO’s Six Feet Under star Michael C. Hall and dropping him into a series about a serial killer working as a Miami Metro Police Department forensics analyst, the word “gimmick” immediately came to mind. However, since giving the aptly named Dexter a shot, I’ve been thoroughly hooked. The show not only features one of the most complex and unpredictable characters on television, it delivers increasingly clever stories, family drama, and intense scenarios for its resident sociopath to overcome. So how does it look in HD? Whether dealing with the harsh natural lighting of a sun-soaked Miami morning or the neon-tinted darkness of its nightlife, Dexter is a vibrant, attractive sight to behold. Blood has a particularly wet and visceral look, while detail is quite stunning. As for the surround sound presentation, Hall’s continuous narration may seem like something that would hamper the series’ sonics, but its regular gunfire, gruesome knife work, spattering blood, and immersive acoustics are involving, to say the least. With a third season currently wooing audiences and critics alike, and fourth and fifth terms already on their way, it isn’t too late to introduce yourself to Dexter.
Anyone who’s been imprisoned in a padded three-wall cubicle or chained to a drab metal desk knows the joys of NBC’s The Office. Each week, clueless management, annoying co-workers, and inner-office turmoil are exploited to deliver some of the most droll and infectious laughs around. Sure, the mockumentary setup and dry humor limits the show’s audience, but regular visitors to Dunder Mifflin Scranton can’t get enough. Plus, in spite of the many candy-coated sitcoms and comedic rom-com romps on the air, The Office gives comedy fans a regular and reliable HD treat. A naturalistic palette and realistic skintones highlight everything from the hair on Dwight’s legs to the dismay on Jim’s face; a high level of detail reveals numerous gags and easter eggs hidden in the background of each scene, while the show’s handheld footage delivers the same technical quality as its more static shots. The presentation’s only shortcoming is one shared by most comedies: subdued sound design. Thankfully, crystal clear dialogue, perfect prioritization, and believable sound effects effortlessly enhance the HD visuals. In fact, of all the comedies I watched this season, The Office had the most satisfying presentation.
Dexter may be a more refined killer with three seasons under its belt, but the intriguing cast of characters in HBO's True Blood have proven to be dangerous and formidable opponents. Not only does the red stuff flow by the gallon, the smartly-penned series satirizes the current cultural and political divide in the US, the disconnect between religion and its followers, and the eccentricities of small town America. But whether you love or hate the admittedly uneven results, there's no denying it all looks and sounds fantastic in high definition. Heavy shadows and warm light rarely give the perfectly-contrasted presentation pause, colors are bold and stable, and foreground and background detailing is impeccable. Granted, reds can be problematic in any high-def presentation, but artifacting is kept to a minimum and the image is surprisingly clean. Add to that loads of atmospheric ambience, an aggressive use of the rear soundfield, and plenty of LFE weight and you have nothing short of an excellent and all-inclusive HD presentation.
While NBC’s house of angsty supermen and clichéd villains took a creative tumble in its second season, Heroes has largely redeemed itself with a return to the tight pacing and twisty tales that made its debut season a household favorite in 2006. Personally, I’m more of a casual fan than a Petrelli-junkie (series baddie Sylar is really the only thing that draws me back week after week), but I can still understand the show’s ongoing appeal. It’s even easier to understand if you watch Heroes in HD. Pause any episode on your DVR and the series’ comicbook inspirations quickly become evident — flashes of strong colors and palette-skewing shots leave key scenes feeling cold, lonely, or chaotic, deep shadows look as if they’ve dribbled off the tip of an inker’s pen, and revealing delineation highlights the detailed sets and cluttered backgrounds. Environmental exteriors are sharp, dimly lit interiors are refined, and the increased resolution doesn’t make the series’ abundant special effects appear overly disjointed from other elements on the screen. When you factor in the startling pans, precise directionality, and booming nature of the show’s surround sound, you have a bombastic winner. I may have fallen out of love with Heroes as a series, but I can’t help but nuzzle up to its tantalizing HD presentation.
I honestly thought I was done with police procedurals until CBS’s latest hit, The Mentalist, finally gave me something new to get excited about. While Psych fans may be tempted to write this network series off as little more than a dramatic clone, The Mentalist is skillfully helmed by Rome creator Bruno Heller, focuses on the development of its characters over quick laughs, and anchors itself to a chilling and bleak origin for Simon Baker’s Patrick Jane. The series also continues to demonstrate CBS’s commitment to quality HD presentations with engaging audio and lush visuals. Since its main character so relies on his observational prowess, image clarity and sonic acuity are extremely important elements of its broadcast. Luckily, The Mentalist pairs crisp edges and textures, impressive depth, and a high level of fine detail with playful rear channel support, a well-crafted soundscape, and a three dimensional soundfield. Ultimately, with a top notch presentation, high ratings, and a second season already a foregone conclusion, The Mentalist is worth some serious attention.
Sweet, quaint, and oddly hypnotic, Pushing Daisies has had a difficult time gaining network traction and building an audience. Even with a captivating premise, fantastic performances, and a bounty of surprises from week to week (not to mention a pile of awards and nominations), the series has been continually overlooked by people looking for flashier entertainment and gun-toting action. It’s a shame too because those same people are missing one of the most dazzling HD shows on television. With a painterly palette that allows colors to ooze off the screen, a convincing three dimensional picture, and nicely resolved shadows, it would be easy to fool the uninitiated into thinking they were watching the show on Blu-ray disc. In fact, it’s a cinch to spot individual hairs, clothing textures, and other fine details that populate the rich image. And while the surround sound presentation isn’t blessed with hyperactive action or intense explosions, the series’ 5.1 sound design envelops the listener in character dialogue, sound effects, and a quirky score. Based on its current ratings, I fear we won’t see a third outing from Pushing Daisies, but I hope it can somehow save itself and win over more viewers . . . if for no other reason than to keep its gorgeous visuals on the air.
Confession time. CSI: Miami may be number one when it comes to its HD presentation, but it’s never been a show I’ve particularly enjoyed. Lifting the more problematic elements from its parent series (overly convoluted murders and contrived plot developments among them), tossing a few bland characters into the mix, and falling back on the same tried-and-true setup again and again has left me cold to Horatio Caine’s stoic expressions and forensic know-how. However, to its great credit, there isn’t a show on television right now that looks better or more like a feature film with each passing episode. Sweltering sunsets drenched in orange, realistic facial textures, individual droplets of sweat, the tiniest flecks of blood . . . these are just a few of the arresting visuals fans are privy to every time their favorite Florida investigators hit the streets. Add to that crystal clear long shots, detailed close-ups, and flawless contrast, and bask in the resulting picture. Yes, fast camera pans are still haunted by the occasional burst of compression artifacts, but it’s a negligible issue that comes with HD broadcast territory. To top it all off, powerful LFE support, busy rear channels, and crisp high-end tones leave little doubt that CSI: Miami is the best HD presentation television has to offer.
30 Rock, Criminal Minds, CSI: NY, Desperate Housewives, Fringe, How I Met Your Mother, and Stargate: Atlantis
Kenneth Brown is a staff writer and reviewer at High Def Digest.