Sentences with phrase «anamorphic colour»

Tacita Dean, Providence, 2017, 35 mm anamorphic colour film still, reduced to 16 mm spherical format, silent, 5.5 mins, continuous loop.

35 mm anamorphic colour film, silent, reduced to spherical 16 mm for exhibition as a miniature, 15 1/2 minutes, continuous loop.

2 synchronised 35 mm anamorphic colour films, optical sound, with a running time of exactly one hour.

Not exact matches

Say Anything... has also just made its DVD debut in the US this month, and reviews of that disc are full of praise for the new 16:9 anamorphic video transfer that's been done of the film under the director's supervision, making mention of its detail, sharpness, colour saturation and perfect black levels.

Colours, contrasts, blacks and flesh tones are all superb, and the aspect ratio is the original 2.35:1 anamorphic widescreen.

Letterboxed in anamorphic widescreen at 1.85:1, the transfer boasts acceptable contrast, plus better - than - average colour rendition for an HK title.

THE DVDs Fox presents A Farewell to Arms and Francis of Assisi on DVD in glorious 2.35:1 anamorphic widescreen transfers (the latter misidentified on the box art as 1.85:1) that preserve their CinemaScope origins and, more, honour them with popping the colours and by saturating the screen with the curious sterility of the process.

The 2.35:1 anamorphic image is razor - sharp yet creamy smooth, so velvety you want to caress it — I do believe this is the finest - looking DVD from the studio to date, down to every last point on the checklist: contrast, shadow detail, saturation, colour rendering, etc..

Detail is very sharp in the 2.35:1 anamorphic transfer, though colours are on the muted side and there's a big blotch of red during one dissolve that isn't endemic to either shot.

Not much to report on either end of the A / V spectrum here: the perfunctory - feeling, windowboxed 1.85:1 anamorphic widescreen transfer reproduces Kondo's muted colour palette with some fidelity, while music is the only thing giving the rear speakers any kind of workout as far as the Dolby Digital 5.1 audio is concerned.

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

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.

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.

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 mastering on this 2.35:1 anamorphic widescreen transfer appears to have paid fine attention to colour saturation, but that doesn't mean the movie's Technicolor looks any more vivid than, say, an episode of «Emergency!».

Beginning with a 2.35:1 anamorphic video transfer that reproduces the picture's lurid, saturated colour palette (all deep reds and greens), Cobb looks as good as it probably can look and sounds, in its booming Dolby Surround audio mix, as good as it probably ever has.

In place of obvious video noise, less colour depth, and high contrast between muddy blacks and hot whites, MGM's new anamorphic transfer glistens with sharp detail.

THE DVD Warner has seen fit to remaster Beetle Juice for a «20th Anniversary Deluxe Edition» DVD, whose 1.78:1 anamorphic widescreen transfer sports crisper definition and brighter colours than the comparatively electronic - looking 1998 platter.

While all films in the set ring with Hammer's trademark attention to colour process, offering bloody reds and fleshy fleshtones, Horror of Dracula's 1.77:1 anamorphic widescreen image (recropped from its original 1.66:1 aspect ratio) is sadly jumping with grain so dense it's at times almost misty.

Still, the disc's tech creds are exemplary: Paycheck's 2.35:1 anamorphic widescreen transfer sports brilliant colours and razor - sharp contrast that together lend the image a fittingly futuristic sheen.

In order to quickly transition to widescreen production, the studio hired Japanese directors and cinematographers, and used Japanese anamorphic lenses to enhance production values by embracing colour and widescreen.

Although captures weighing the fullscreen version of the SE (reviewed below) against the Superbit's 1.85:1 anamorphic widescreen transfer wouldn't prove much other than the disparity in aspect ratios, the Superbit platter boasts a much more expressive colour palette, blacks that approach pitch for a change, and detail so microscopically fine that, while Gobby's costume now officially looks stupid, the CGI has, conversely, never been more convincing, since all that compositing work is finally discernible.

The 1.85:1 anamorphic widescreen transfer smoothes over bumps in the source print with impeccable compression and stable colours; shadow detail is diaphanous.

Extras: Colour, Closed - captioned, DTS Surround Sound, Widescreen, Dolby, Production notes, Theatrical trailer (s), Feature Length «Making - of «Documentary, 1977 Featurette «Watching the Skies,» 11 Deleted Scenes, Widescreen anamorphic format, Number of discs: 2

THE DVD A 1.78:1 anamorphic widescreen transfer is the flipside to a pan-and-scan DVD presentation of The Sandlot 2, both of which exhibit almost exactly the same flat, blooming colours and, particularly in the daytime sequences, the same subtle patina of overexposure haloing and bleed.

The 1.85:1 anamorphic widescreen transfer improves after a grainy, oversaturated start (colours remain a little too «Columbia bold» throughout) while the 5.1 Dolby Digital soundmix is humdrum and another offender of the dreaded dance club anomaly: Shouldn't the music be competing with voices — rather than yielding to them — in San Francisco's hottest disco?

Its anamorphic widescreen transfer comes close to preserving the original Super Panavision70 aspect ratio (about 2:1 vs. this presentation's 2.20:1) while presenting colours with pleasing warmth and images with a wondrous clarity largely free of grain and edge - enhancement.

Tacita Dean Craneway Event [Still], 2009 16 mm colour anamorphic film, optical sound 1 hour 48 mins 13th May — 23rd June In November 2008, Tacita Dean filmed the choreographer Merce Cunningham (1919 — 2009) and his dance company rehearsing for an event in a former Ford assembly plant in Richmond, California.

Tacita Dean Craneway Event [Still], 2009 16 mm colour anamorphic film, optical sound 1 hour 48 mins 13th May — 23rd June