Sentences with phrase «cinemascope visuals»
The dark 2.40:1 CinemaScope visuals are a bit washed out, sporting faded colors, light grain, some minor scratches, and a soft, unfocused look.
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The handsome CinemaScope visuals are vibrant and pristine.
More important in that department is the debut of a CinemaScope visual style, which cinematographer Leon Shamroy anchors through often hauntingly precise coloration and lighting, in addition to a tight scope which is intimate and grand enough to immerse you into George Davis» and Lyle R. Wheeler's Oscar - winning art direction, which is immersive enough by its own right, utilizing Paul S. Fox's and Walter M. Scott's impeccable set decoration and Charles LeMaire's and Emile Santiago's costume designs to restore the look of Ancient Rome - from its high society to simple villages - lavishly.
Not exact matches
A stunning visual spectacle that should be remembered only for being the first CinemaScope movie ever released, since the direction is clunky, the plot overlong and terribly contrived (the character's conversion is never convincing) and the dialogue so full of highs and lows.
This is somewhat true of Damien Chazelle's La La Land, with its CinemaScope aspect ratio (complete with Tarantino - like title card), lush and dreamy 35 mm colors, visual nods to Singin» In The Rain, and a coda that recalls The Umbrellas Of Cherbourg.
The movie was shot in the two - perf Techniscope format, meaning each frame of camera negative has only half the resolution of a CinemaScope (i.e., four - perf) frame, and this 1080p (MPEG - 4 / AVC) transfer, letterboxed to 2.35:1, seems to capture every last bit of visual information.
Though he detested the CinemaScope ratio, Mamoulian's visual acumen nevertheless prevailed in creating a marvelous musical that showcased the elegance of Fred Astaire and Cyd Charisse - their first onscreen teaming since «The Band Wagon,» in 1953 - following the choreography with wide and medium shots, and lengthy takes with graceful camera movements.
His choice of long horizontal and vertical painting formats and the seemingly frozen moments captured on his canvases reference both CinemaScope film and the visual effects of photography.