Sentences with phrase «anamorphic cinematography»

Alas, while this is currently the definitive version of The Last Man on Earth on home video, it nevertheless looks a little dupey, with fine detail — already dampened by the anamorphic cinematography — further Vaseline'd by overzealous noise reduction.

If it doesn't seem at first glance to improve significantly on the company's previously - definitive DVD release, blame some stubbornly soft anamorphic cinematography — and know that a side - by - side comparison shows enough of a boost in clarity to almost justify a re-purchase by itself.

It's very mature, very sophisticated, high - brow, 2.35:1 anamorphic cinematography.

Suffice it to say the transfer is intermittently noisy and generally looks like it's been subjected to a light cocktail of grain - filtering and edge - enhancement, though the anamorphic cinematography is naturally soft, with lens aberrations at times throwing the upper third of the image out of focus entirely.

THE BLU - RAY DISC Warner brings Soylent Green to Blu - ray in a 2.40:1, 1080p transfer that is, considering the anamorphic cinematography, adequately sharp — particularly in interiors — and colourful, with the apartment set and a certain wide shot of Heston atop a trash truck exhibiting a gratifying level of detail.

Not exact matches

Its 1.85:1 anamorphic widescreen presentation is top - notch, and it showcases Tim Suhrstedt's fine cinematography.

THE DVD Anchor Bay reissues Johnny Suede on DVD in a 1.75:1 anamorphic widescreen transfer that frankly does Joe DeSalvo's cinematography a disservice.

Its stunning 2.35:1 anamorphic presentation, supervised by Cundey, does for this film exactly what the Cundey - approved transfer of The Fog did for that film: it resurrects it, transforming a marginal not - recommend in the case of Cimber's film into a marginal recommend based on the strength of Cundey's gorgeous cinematography.

THE DVD Paramount's DVD release presents Donovan's Reef in a beautiful 1.85:1 anamorphic widescreen transfer that shows off William Clothier's (Cheyenne Autumn) stunning cinematography.

Released under Sony's Superbit imprimatur despite committing minor infractions against the Superbit manifesto, the film receives a 1.81:1 anamorphic widescreen transfer that does Stephen Goldblatt's gleaming cinematography untold justice.

The film's 1.85:1 anamorphic widescreen transfer rings all the lushness it can from Steven Bernstein's flatly - lit cinematography.

for the picture — lovingly restored, as is the film itself (save some unchecked pinholes)-- rounds out the presentation, which has as its central attraction the revitalization of Harry Waxman's stabbingly - bright cinematography in a 1.78:1 anamorphic widescreen transfer.

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 Peace Arch brings The Babysitters to DVD in a 1.78:1 anamorphic widescreen transfer that renders Michael McDonough's uselessly beautiful cinematography with apparent fidelity.

With a 1.85:1 anamorphic widescreen transfer and a superfluous, cropped fullscreen version occupying the same side of a dual - layer disc, the bitrate is pathetic at times, exacerbating the tungsten haze of Laszlo Kovacs's cinematography.

The Oscar - winning cinematography looks outstanding in the DVD's 2.35:1 anamorphic widescreen transfer, leaving just about no room for improvement on this format.

12 or so «old» films, in the order in which I saw them: Night and the City (UK version, Jules Dassin, 1950): on 35 mm nitrate (May, Rochester) Until They Get Me (Frank Borzage, 1917): an incredibly advanced Western, on 35 mm (June, Bologna); Secrets (Frank Borzage, 1924) was also notable, DCP West Indies (Med Hondo, 1979): 35 mm, anamorphic color print (Bologna) Furcht (Fear, Robert Wiene, 1917): German «impressionism» before «expressionism,» 35 mm (Bologna) Mit hem är Copacabana (My Home is Copacabana, Arne Sucksdorff, 1965): A Swedish documentarian meets Brazilian Cinema Novo, DCP (July, Bologna) El rebozo de Soledad (Soledad's Shawl, Roberto Gavaldón, 1952), DCP (Bologna) Where would the Mexican Cine de Oro have been without Gabriel Figueroa's cinematography?