Sentences with phrase «anamorphic panavision»

The disc's 2.37:1 anamorphic widescreen transfer, for what it's worth, is vibrant and, at times, eye - popping.

THE DVD Blue Underground, gaining momentum on Anchor Bay in the area of extensive catalogue cult releases, offers The Final Countdown in an astounding, THX - certified anamorphic widescreen presentation that preserves the picture's original 2.35:1 Panavision aspect ratio for the first time on DVD legitimately.

Up soars onto DVD in an anamorphic (enhanced for widescreen TVs) presentation, with audio tracks in Dolby Digital 5.1 (English, Spanish and French).

It was also good to see the IMAX film projector used again, for Interstellar, although it was disconcerting to see the aspect ratio change from 70 mm to anamorphic 35 mm, often within the same scene.

DVD Features: Commentary by director Jim Isaac, Writer Todd Farmer, and Producer Noel Cunningham; Theatrical trailer (s); Original documentary: The Many Lives of Jason Voorhees; Original documentary: By Any Means Necessary: The Making of Jason X; Jump to a Death Feature; Widescreen anamorphic format

1.85:1 Anamorphic Widescreen Dolby Digital 5.1 (English) Dolby Surround (French) Subtitles: English Closed Captioned Release Date: February 3, 2004 Single - sided, dual - layered disc (DVD - 9) Suggested Retail Price: $ 19.99

Wild Hearts Can't Be Broken is presented not in anamorphic widescreen like it was in the parts of the world where it was released to DVD first, but in a reformatted 1.33:1 fullscreen transfer as it was for its Disney Movie Club DVD debut last year.

THE DVD MGM releases Out of Time in a spacious, overly bright and grainy 2.40:1 anamorphic video transfer prone to moiré problems and colour bleed, but if it's a little rough around the edges (indeed, DP Theo van de Sande's work on Cruel Intentions displayed the same kind of affected autumnal defect), I'm willing to think that it's in the cause of the picture's atmosphere.

The 1.78:1 anamorphic widescreen transfer is unremarkable and often soft, exposing the TV - cheap production values (perfect for the material, as it happens), while the Dolby 2.0 stereo audio underutilizes the soundstage to the extreme.

The 2.33:1 anamorphic widescreen transfer is breathtaking but for the occasional presence of dark blue in areas of the image that should be pitch black.

And sate it does, at least from a technical standpoint: The 2.35:1 anamorphic widescreen transfer * is the finest for one of the film's theatrical cuts — a remarkable feat considering it's the longest instalment of the trilogy (and thus harder to squeeze onto a single - sided, dual - layered platter), though perhaps not so astonishing in light of two years having passed since The Fellowship of the Ring debuted on the format.

That Evening Sun looks quite nice in the DVD's 2.35:1 anamorphic widescreen transfer.

and the COPIOUS amounts of unmotivated anamorphic lens flairs...

THE DVD Appearing on Paramount DVD in fullscreen and 1.85:1 anamorphic widescreen transfers compressed on one side of a dual - layer platter, The Wild Thornberrys Movie looks sharp and lovely on disc.

THE DVDs Warner DVD presents Everybody's All - American in a 1.85:1 anamorphic video transfer stained by the indelible burnish of the late -»80s that renders colours a little soft and atmosphere a touch on the murky side.

Blue Valentine looks great in the DVD's anamorphic widescreen transfer, which the frames the film in atypical 1.66:1.

The good things to come from this disc are that the film is once again easy to buy and now sports an anamorphic transfer.

THE DVD by Bill Chambers Hitting DVD in world - class 2.35:1 anamorphic widescreen and pan-and-scan transfers (sandwiched together on the same side of a dual - layer platter) from Columbia TriStar, Identity aims to please its fans on disc via the debut of a special extended version that cohabits with the theatrical version through the miracle of seamless branching.

GHOST IN THE SHELL Blu - ray ™ + Digital HD Street Date: March 14, 2017 Pre-book: February 8, 2017 Catalog #: BD64909 UPC: 013132649092 Run Time: 82 Minutes Rating: Not Rated SRP: $ 34.99 Format: English: Dolby 5.1 DTS - HD Aspect Ratio: Anamorphic Widescreen 1:78:1 g Audio: Subtitles: English, Japanese

THE DVD by Bill Chambers Columbia TriStar distributes the enjoyable Laurel Canyon on DVD in a delectable 1.85:1 anamorphic widescreen transfer that makes the film look expensive.

We used these anamorphic lenses, they're quite old and they have these aberrations.

Columbia TriStar weighs in with a 1.85:1 anamorphic DVD presentation of Tokyo Godfathers that is, like Millennium Actress, marred by edge - enhancement, if much more vibrant - looking.

The 2.35:1 anamorphic widescreen transfer is velvety smooth and three - dimensional, the best a Mann film has yet looked on the format and in the top - tier of Columbia TriStar's efforts — it's that good.

THE DVD Fox releases Dying Young on DVD in a vanilla 1.85:1 anamorphic widescreen presentation long on Schumacher's over-saturated colours and short on subtlety, which is, of course, not the transfer's fault; its softness — that impression that the lens has been smeared with Vaseline, «Glamor Shots» - style — is something you can't really win by being faithful to.

Baker's crew shot the entire 2015 film using three iPhone 5S devices, with additional photography from an anamorphic clip - on lens, an app, and Steadicam Smoothee Mounts.

THE DVD Warner DVD presents Driven in a solid anamorphic widescreen (2.35:1) transfer that nevertheless isn't razor - sharp.

Lilo & Stitch 2 appears in 1.78:1 anamorphic widescreen, a fact Disney singularly neglects to mention anywhere on the packaging.

The 1.78:1 anamorphic widescreen transfer is strictly utilitarian.

We received the former for review, which contains a 2.35:1 transfer of the film in anamorphic video; the image is quirky in accordance with John Seale's cinematography: grain is overemphasized in several climactic shots, as if to ground the ludicrous plot machinations in some kind of hard - edged reality, while blacks are chalky throughout and detail has a filtered quality — a Lawrence Kasdan trademark.

THE DVD DreamWorks presents Millennium Actress on DVD in a 1.78:1 anamorphic widescreen transfer that is as sharp and colourful as the palette warrants, though edge enhancement does prove occasionally distracting.

Harpoon isn't a handsome film, but it looks fine (if a little soft and big on interlacing) in the disc's 2.35:1 anamorphic widescreen presentation.

Rounding out the first platter are startup trailers for Spider - Man 3, The Pursuit of Happyness, and The Holiday, all in anamorphic widescreen and 5.1 Dolby Digital.

The print used for the 1.78:1 anamorphic widescreen transfer is free of debris, but it looks worn all the same, with fleshtones on the pink side and an absence of deep blacks.

Shot on film in anamorphic, this is a handsome, at times pretty, movie elegantly transferred to HiDef.

Disney presents the film on DVD in a luscious 2.35:1 anamorphic widescreen transfer * — gone is the excess filtering of their more recent live - action fare, replaced by an unobtrusive, mood - setting mist of grain.

THE DVD Paramount releases D.A.R.Y.L. on DVD to unsuspecting nostalgia collectors in a clean 2.35:1 anamorphic transfer that nevertheless demonstrates director Simon Wincer's gift for squandering the widescreen format.

Its only DVD release presents the movie in 1.85:1 anamorphic widescreen and Dolby Digital 5.1.

THE DVD Perhaps even more perplexing is Fox's decision to release Drive Me Crazy on DVD in anamorphic video, only the seventh time they have done so.

Happy - Go - Lucky looks terrific in this vibrant 2.35:1 anamorphic widescreen presentation.

So decided to go off my memories of those films instead and as much as I love them, instead of deliberately quoting them I'd try to go by my childhood impressions of what I'd loved about them, the anamorphic framing, the lens flares, the dolly shots on faces, the way they mixed awe and moments of danger or heartbreak.

there was this gritty ditty - a siege picture that first introduced the director's love of synth - scored anamorphic photography and his fear of faceless, invading danger.

Technical aspects: 2.40:1 anamorphic widescreen picture; English, French and Spanish 5.1 Dolby digital and English and French Dolby surround audio description track; English SDH, English, French and Spanish subtitles.

«95 % of all release titles will be anamorphic or widescreen, working from, in most cases, High Definition transfers,» Jamieson assured me.

The film is presented at 2.35:1 in anamorphic widescreen; colours are outstanding and detail is fine.

Anderson usually shoots in an anamorphic 35 mm that is 2.39:1 (or close to that figure, sometimes 2.35.1).

The newly - struck 1.85:1 anamorphic widescreen transfer is bright and beautiful, however, with light edge - enhancement in a few early scenes fading admirably long about the evening picnic.

Although this was essentially a low budget independent film, John Carpenter chose to shoot the movie in anamorphic widescreen Panavision.

The former offers a 1.85:1 anamorphic transfer.

Abandoning the optional full - frame transfer of the previous disc, the SE presents the film in 2.35:1 anamorphic widescreen and the quality of the image dazzles.

The first platter contains the film in a beautifully - saturated 1.85:1 anamorphic widescreen transfer that comes across as warm, free of defect, and exceedingly bright.