Sentences with phrase «anamorphic film»

The new 26 1/2 minute work is a 35 mm anamorphic film shot on location in the saline landscapes of Utah and California using Dean's recently developed and patented system of aperture gate masking.

In January 2008 Marian Goodman Gallery in New York will host a solo Kentridge exhibition consisting of small horse sculptures, stereoscopic work and photogravures, as well as the anamorphic film What Will Come.

In 2010, Center funding made possible the commission of a new 26 1/2 - minute work in 35 mm anamorphic film by Berlin - based, British artist Tacita Dean.

British artist Tacita Dean created a 26 1/2 - minute work, in 35 mm anamorphic film, in homage to the writer J.G. Ballard.

Tacita Dean, Fernsehturm (still), 2001, 16MM color anamorphic film, optical sound, 44 minutes.

Center funding made possible a new 26 1/2 - minute work in 35 mm anamorphic film by Berlin - based, British artist Tacita Dean.

The 16 mm anamorphic film was shot in Cornwall, England, during last year's total eclipse of the sun.

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

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.

«Interstellar» was shot using a combination of 35 mm anamorphic film and 65 mm IMAX film to maximize the crispness and clarity of the images.

At the same time, the image maintains fine detail, impressively representing the resolving power of a good anamorphic film negative.

That last point is particularly important, because although it's easy to admire Tarantino's bravura storytelling — not to mention his moxie in resurrecting a large - format anamorphic film process that's been dead for 50 years — the schematic structure and derivative narrative he employs makes The Hateful Eight about as nuanced as bloody bootprints in the snow.

So, I was okay with their doing it, as long as I could shoot the movie the way I wanted to, in anamorphic film, and then let them convert it.

Not exact matches

Image detail is nice on the whole, and though the film does occasionally look a little soft, this is an artifact of the anamorphic camera process used, rather than any transfer or compression issues.

Video: With an aspect ratio of 2.40:1 Anamorphic Widescreen, the video quality of the film is higher than the time period of the action allows it to appear.

Kino Lorber's DVD edition of The Strongest Man gives the film a good visual presentation in letterboxed 2.35:1 anamorphic widescreen.

The anamorphically enhanced 2.35 X 1 image was masterfully shot by cinematographer Stephen Burum, A.S.C., in real anamorphic Panavision and brought back the pre-Reagan-era look of Spy genre films.

The film was shot in two anamorphic 35 mm 2.35 X 1 scope formats: Panavision and Technovision, the latter an Italian format that has a good look.

The final supplement on Disc 1 is a rather cool easter egg — the film's groundbreaking original Theatrical Trailer, presented in anamorphic widescreen.

THE DVD Universal's DVD release features a sharp 1.85:1 anamorphic widescreen presentation of the film featuring a minimum of grain and edge enhancements and superior contrast.

Presented windowboxed in 1.65 anamorphic widescreen *, the film looks exactly like it did in theatres, all but confirming that the transfer was sourced from the 35 mm blow - up (Vincent Gallo's viewing preference) rather than the Super16 negative.

THE DVD For all the weaknesses of the film, Warner DVD's beautiful 1.78:1 anamorphic widescreen presentation of American Outlaws is a showcase piece for its audio / visual transfer.

Those like me accustomed to seeing the Indiana Jones films in the wonder of degraded pan-and-scan videocassettes should rejoice at the sight of these DVDs, which offer higher resolution and preserve the considerable frame width in anamorphic widescreen transfers nearer to 2.35:1 than the 2.20:1 aspect ratios widely cited.

THE DVD One of six films that won the second round of Amazon's DVD Decision 2006, Looker debuts on the format in a handsome 2.37:1 anamorphic widescreen transfer that occasionally succumbs to pinholes and a high density of grain.

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 film itself sports a handsome 1.85:1 anamorphic video transfer that seems a little soft and grainy, but for what it's worth, I didn't mind that, as it preserved something of a filmic quality.

THE DVD The kids division of MGM presents It's a Very Merry Muppet Christmas Movie in a full - frame «Special Edition» presentation all the more puzzling for the fact that a 1.85:1 anamorphic widescreen transfer was prepared for the film's R2 release.

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.

Trailers & TV Spots Let's begin at the top of disc two where both the Teaser Trailer and Theatrical Trailer are presented in an anamorphic formt with 2 channel surround and at times look better than some of the shots in the film itself.

The film looks pretty great in the DVD's 2.35:1 anamorphic widescreen transfer.

As with the earlier edition, both films are presented in anamorphic widescreen at the original aspect ratio of 2.35:1.

Finishing out the Tayton box (and exclusive to the set), Warner's DVD release of The Comedians presents the film in a 2.36:1 anamorphic widescreen transfer that sparkles.

THE DVD The first platter of Fox's two - disc Collector's Edition reissue of The Hustler sports the film in a slick but unfortunately nonprogressive 2.35:1 anamorphic widescreen transfer.

Additionally complementing a flawless, 2.35:1 anamorphic transfer and thudding Dolby and DTS 5.1 mixes (note that the DTS audio draws gratifying attention to the surrounds) on this Ultimate Mummy are a pair of wisely - deleted scenes; brief lessons in Egyptology and pharaoh lineage; full - motion split - screen storyboard - to - final film comparisons; an extraneous montage of production stills; what appears to be the Electronic Press Kit for this summer's The Mummy Returns; trailers for The Mummy and its upcoming sequel (in Dolby 5.1); cast and crew bios (plus notes); and the following DVD - ROM links to: a soon - to - be live webcast from the premiere of The Mummy Returns; Sommers's script; screen savers; The Mummy's PC game demo; and The Mummy Returns» official website.

The first platter of Fox's two - disc Collector's Edition reissue of The Hustler sports the film in a slick but unfortunately nonprogressive 2.35:1 anamorphic widescreen transfer.

While I no doubt have been spoiled by regular exposure to excellent Blu - ray transfers, the 1.85:1 anamorphic widescreen presentation of Swimming to Cambodia seems a tad disappointing even for a standard definition release of a low - budget 25 - year - old experimental film.

Though the film was projected at IMAX venues in 3 - D, it's offered in 2 - D only for the home viewing audience, and the 1.78:1 anamorphic widescreen image is consistently good in the face of a mélange of source media — note that the longer version relies more heavily on video - based footage originated by the MIR's electronic eyes.

THE DVD Anchor Bay's 1.66:1 anamorphic widescreen DVD presentation of Link looks as bright and bouncy as a badly - filmed piece of schlock can.

THE DVD Paramount's DVD release of The Temp presents the film in a sharp 1.85:1 anamorphic widescreen transfer that suffers stray edge - enhancement issues.

With cinematographer Jakob Ihre, Trier decided to use anamorphic lenses instead of the more naturalistic spherical lenses of his earlier films.

Disc One is the film in an absolutely stunning 1.85:1, THX - approved anamorphic video transfer whose wonderfully aged and warm palette showcases Greenberg's dazzling lighting schemes.

THE DVD Innerspace is available on DVD from Warner Home Video in a presentation that contains a 1.78:1 anamorphic widescreen transfer of the film along with 5.1 Dolby Digital sound likely based off the six - track mix that accompanied 70 mm prints.

The 1.66 anamorphic widescreen transfer is, then, wholly at the service of the film, which is as it should be, while the German DD 2.0 mono audio is similarly fulsome, replicating Popol Vuh's hallucinogenic score with fidelity.

THE DVD The Fox DVD presents the film in an anamorphic widescreen transfer (2.35:1) that takes full advantage of the vibrant jungle of Sumatra.

Cabin Fever itself quickly subverts expectations for something grainy and incompetent — the film so belies its low - budget origins (and influences) that it may have distorted my perception of the 2.35:1 anamorphic widescreen image, but I believe it to be above reproach, with striking contrast, hairline detail, and well - modulated saturation.

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.

Paul designed the new look for Pinhead and was production designer on the shoot and Le Han pulled in all of his film resources and directed the teaser on the new Alex 4:3 camera with anamorphic lenses.

It plays under a crisply - detailed, well - compressed anamorphic widescreen transfer that for no explicable reason dispenses with the Super35 film's projected aspect ratio of 2.35:1 in favour of its negative aspect ratio of 1.78:1.

Presented in a handsome yet artifact - prone and sometimes «hot» 1.82:1 anamorphic widescreen transfer (flesh tones and facial details are occasionally muted by blown - out whites), the film remains free of nudity from Cuthbert but contains additional flesh in the form of porno clips and background exhibitionists.

Warner's DVD version of McCabe & Mrs. Miller is unfortunately something of a disappointment in the technical department: the 2.35:1 anamorphic widescreen image is too black for a film that was pre-exposed in order to decrease contrast, while digital video noise reduction looks like it was rather severely applied to the intentionally gritty images, resulting in a general lack of detail.