Sentences with phrase «anamorphic transfer looks»

The DVD's 2.40:1 anamorphic transfer looks good for standard definition.

One doesn't expect much from a 20 - year - old Roger Corman movie, but this 1.78:1 anamorphic transfer looks surprisingly good.

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.

The Quality The anamorphic widescreen transfer looks fantastic with some bright, vivid color (especially in the jungle of Nool) and some impressive detail, with the opening shot being one of the most realistic pieces of computer animation I've ever seen.

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 Calling looks fine for standard definition, but the DVD's 2.40:1 anamorphic widescreen transfer is a far cry from the satisfying highs of 1080p.

Even so, the anamorphic widescreen transfer looked pretty good, with solid color.

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

The movie looks great in its 2.35:1 anamorphic widescreen transfer.

But this dual - layer DVD is filled nearly to its size limit, which means the 1.78:1 anamorphic widescreen transfer looks superb, with striking color and contrast.

Found footage movies are supposed to look real, not great and Deborah Logan aspires to that with its jerky video that is capably but unremarkably presented in the DVD's 1.78:1 anamorphic widescreen transfer.

Although it uses the same 1.81:1 anamorphic widescreen transfer as before, the presentation doesn't look too dated.

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.

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 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.

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

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.

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

Caddyshack looks pretty terrific here in its 1.78:1 anamorphic widescreen transfer.

THE DVD by Bill Chambers Paramount presents K - 19: The Widowmaker on DVD in a low - contrast 2.35:1 anamorphic widescreen transfer that looks soft and muddy - brown throughout, which seems to be the developed aesthetic of cinematographer Jeff Cronenweth (Fight Club, Panic Room), son of Blade Runner DP Jordan Cronenweth.

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.

Besides a superb 1.85:1 anamorphic widescreen transfer that gets the soft, greyish Bill Butler look just right and a Dolby Digital 5.1 mix that fills the room with abstract thunder during each of Dad's «visions,» the disc features three good commentary tracks and more.

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 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.

The picture remains clean on the 1.85:1 anamorphic widescreen transfer, but very soft and with an out - of - focus look to which you must adjust.

THE DVDs Red Dawn drops onto DVD in a two - disc «Collector's Edition» sporting a nifty 1.87:1 anamorphic widescreen transfer that frees the picture of the excess grain found in previous home video incarnations but doesn't do much to animate what is frankly a flat - looking film.

THE DVD by Bill Chambers Universal Home Video presents About a Boy on DVD in a 2.35:1 anamorphic widescreen transfer * that looks fine.

THE DVD The unaccountable popularity of the film and what appears to be genuine respect for all of their titles has led Fox to substitute their bare - bones, fullscreen DVD release of The Commitments with a Collector's Edition that preserves the original 1.85:1 aspect ratio (to my eye, it looks closer to 1.77:1) in an anamorphic transfer that is simply beautiful.

The odds certainly are in the film's favor that it will look and sound just dandy, but the anamorphic widescreen transfer (occasionally marred by artifacts) and subtle Dolby Digital 5.1 track here aren't indicative of what you'll get.

The 1.85:1 anamorphic widescreen transfer looks dingy beyond the severe diffusion that was applied to daylight and nighttime scenes alike.

The studio's transfers are consistently some of the best out there, so for standard definition, this 2.40:1 anamorphic widescreen presentation looks pretty solid.

Cyrus looks great in the DVD's 1.85:1 anamorphic widescreen transfer.

Though the 1.85:1 anamorphic widescreen transfer of the film (full - frame version sold separately) starts out looking scuffed, the speckles clear up after the opening credits — but then edge - enhancement intrudes, and there's a bizarre lapse in quality during chapter 6, when intermittent shots lose so much definition as to suggest second - generation VHS.

Don't get me wrong: I'm happy as a clam that the films (remastered in effervescent 1.85:1 anamorphic widescreen transfers — pan-and-scan sold separately — supervised by co-creator Bob Gale with Dolby Digital 5.1 remixes that beef up the re-entry effects especially) look and sound as good as they do and that, for the first time in home video's history, each picture is now being seen as it appeared in theatres (more on that below).

It could just be that Sony's anamorphic DVD presentation doesn't look so great to someone who is accustomed to the studio's top - notch Blu - ray transfers.

The 2.40:1 anamorphic widescreen transfer lacks sharpness throughout, looking a tad soft, dark, and splotchy.

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 film's rather stylized look — dark, grainy, and occasionally approximating satellite imagery — is represented in utterly satisfying fashion in the DVD's solid 2.40:1 anamorphic widescreen transfer.

Contraband receives a similar treatment: a 1.85:1 anamorphic video transfer that looks a little washed - out, especially in the outdoors scenes.

THE DVD Paramount releases Permanent Record in a barely - registering DVD that distinguishes itself from the old VHS I have only by its aspect ratio (1.85:1), the anamorphic transfer riddled with particulate debris that makes every shot look a lot like it was taken from inside a honky - tonk.

The 1.78:1 anamorphic widescreen transfer given One Flew Over the Cuckoo's Nest leaves it looking super for most of its runtime.

Martian Child looks exquisite in this 1.85:1 anamorphic widescreen transfer, which boasts tremendous detail and nary a flaw.

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.

Picture quality on the 1.85:1 anamorphic widescreen transfer looks fine for standard definition, with no noticeable flaws arising.