Sentences with phrase «anamorphic widescreen for»

It is 1932, and Anderson and cinematographer Robert D. Yeoman match the shift by swapping anamorphic widescreen for the period - appropriate Academy ratio.

Individual episodes sport brilliant video transfers that improve as the mythology progresses, of course, but are never shoddy besides, and though it's not noted anywhere on the packaging, the series switches from fullscreen to 1.78:1 anamorphic widescreen for the two episodes («Redux» and «Redux II») that close out «Black Oil», never to return.

This Special Edition DVD adds 16:9 enhancement to the feature, presenting Return to the Sea in anamorphic widescreen for the first time.

Also on DVD, presented in anamorphic widescreen for the first time.

For an HD Remake, it smooths out a lot of the textures and graphics and anamorphic widescreen for better sense of immersion and no black bars from the original.

Not exact matches

Still, the 2.40:1 anamorphic widescreen picture is perfectly satisfactory for standard definition, as is the basic but serviceable Dolby Digital 5.1 soundtrack.

Sufficed to say I'm not going to assess the 2.35:1 anamorphic widescreen transfer because I have no idea what consumers are getting for their ill - spent cash, though I can confirm that the DD 5.1 audio is suitably loud, with lots of rear - atmospherics that almost, almost get your heart pumping.

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 transfFor 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 transffor its audio / visual transfer.

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.

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.

As for Fox's Because of Winn - Dixie platter, it's a DVD - 10 containing 1.85:1 anamorphic widescreen and flipside unmatted transfers.

Housed in a regular plastic Amaray case, Waiting For Armageddon comes to DVD presented in anamorphic widescreen, with an English language stereo audio track.

Housed in a regular plastic Amaray case stored in turn in a cardboard slipcover with lenticular imaging (that's fancy talk for 3 - D, folks), The Stranger comes to DVD presented in 1.78:1 anamorphic widescreen, with a Dolby digital 5.1 surround sound audio track and optional Spanish and English SDH subtitles.

Columbia TriStar's DVD could scarcely better accommodate an appreciation of the picture: the approximately 2.35:1 anamorphic widescreen presentation rivals the Pixar digital - to - digital transfers for clarity of textures.

Super Sleuth Christmas Movie is presented in 1.78:1 anamorphic widescreen, slightly wider than the series» and standard TVs» dimensions but not wide enough for the package to avoid designating it «family - friendly widescreen.»

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.

We received the NC - 17 disc for review (as if the R release would receive coverage here), whose 1.85:1 anamorphic widescreen transfer is unassumingly breathtaking, a smashing success in every conceivable way.

THE DVDs Released on DVD a few years back by DreamWorks in an «Awards Edition» now bundled as part of Paramount's «Best Picture: Academy Award Winners Collection,» American Beauty is crying out for a fresh run through the telecine (there's a hair in a couple of frames), its 2.37:1 anamorphic widescreen transfer conspicuously struck back in the nascence of the format.

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

Unsurprisingly for modern stop - motion animation, picture quality is excellent on the DVD's 2.35:1 anamorphic widescreen transfer.

Remastered in anamorphic widescreen and featuring TXH certified 5.1 Dolby Digital Surround Sound, you can purchase separately each of the five movies (Planet of the Apes, Beneath the planet of the Apes, Escape From the Planet of the Apes, Conquest of Planet of the Apes and Battle for the Planet of the Apes).

And finally, Anchor Bay champions The Fallen Ones with a striking 1.77:1 anamorphic widescreen transfer that makes a strong case for the company never doing anything half - assed no matter the content.

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.

I'm slightly, pleasantly surprised by the fact that Christmas Special is presented in 1.78:1 anamorphic widescreen, as that wasn't yet a given for Comedy Central in 2008 (see A Colbert Christmas).

THE DVD Through Subversive Cinema, Absurda makes Eraserhead available for the first time outside of Lynch's website in a stunning 1.85:1 anamorphic widescreen transfer sourced from 2003's frame - by - frame restoration.

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.

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.

The film over which this is heard is exhibited in both 2.35:1 anamorphic widescreen and fullscreen transfers on opposite sides of the platter; although the picture was shot in Super35 (as opposed to «scope), there is more horizontal information restored and less vertical information cropped than usual for the format, making the decision to stick with letterbox a definite no - brainer.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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

THE DVD by Bill Chambers MGM has assembled a fine DVD package for Undertow, starting with a marvellous 1.82:1 anamorphic widescreen transfer.

THE DVD Released by Fox in a DVD transfer that can only be described as low - rent and murky (excuses for this are perhaps provided by The Rats» origin as a telefilm), shadow detail within the 1.78:1 anamorphic widescreen image is incredibly soft and undefined.

Genius - level cinematographer Vittorio Storaro receives due treatment from not only Harlin (who implies that the chance to work with Storaro was one of his main reasons for agreeing to do the film), but also the folks in mastering: The 2.36:1 anamorphic widescreen transfer * is incredibly rich from beginning to end, with shadow detail occasionally collapsing into inky pools of black on purpose, if I'm to parse Harlin's notes on the digital grading correctly.

The 2.40:1 anamorphic widescreen video isn't the sharpest or most detailed, but that's a low - budget comedy in standard definition from a small studio for you.

There are interesting side - by - side storyboard / finished scene comparisons for the film's more visually complex sequences; a selection of rather understandably deleted scenes that can be viewed with commentary by director and producer as well as within the context of the film (albeit in rather cumbersome fashion); a largely useless montage of still photos from the production cut to a cue of John Murphy's score; the usual cast and crew filmographies and production notes; plus a full - frame version of the film to go with the nicely transferred anamorphic widescreen one.

KEY: 1.33:1 - Fullscreen; 1.66:1, 1.85:1, 2.25:1, 2.35:1 - Widescreen ratios; 16:9 (or anamorphic)- widescreen presentation enhanced for 16 x 9 widescreen TVs OAR - Original Aspect Ratio (DVD maintains ratio the film was created for); DD 5.1 - Dolby Digital 5.1 Surround Sound; DD 2.0 - Dolby Surround; SRP - Suggested Retail Price; OOP - Out of Print Anchor Bay - Disney film released on DVD by AWidescreen ratios; 16:9 (or anamorphic)- widescreen presentation enhanced for 16 x 9 widescreen TVs OAR - Original Aspect Ratio (DVD maintains ratio the film was created for); DD 5.1 - Dolby Digital 5.1 Surround Sound; DD 2.0 - Dolby Surround; SRP - Suggested Retail Price; OOP - Out of Print Anchor Bay - Disney film released on DVD by Awidescreen presentation enhanced for 16 x 9 widescreen TVs OAR - Original Aspect Ratio (DVD maintains ratio the film was created for); DD 5.1 - Dolby Digital 5.1 Surround Sound; DD 2.0 - Dolby Surround; SRP - Suggested Retail Price; OOP - Out of Print Anchor Bay - Disney film released on DVD by Awidescreen TVs OAR - Original Aspect Ratio (DVD maintains ratio the film was created for); DD 5.1 - Dolby Digital 5.1 Surround Sound; DD 2.0 - Dolby Surround; SRP - Suggested Retail Price; OOP - Out of Print Anchor Bay - Disney film released on DVD by Anchor Bay.

KEY: 1.33:1 - Fullscreen; 1.66: 1, 1.77:1, 1.85:1, 2.35:1 - Widescreen aspect ratios; DD 5.1 - Dolby Digital 5.1 Surround Sound; DD 2.0 - Dolby Surround 2.0; DTS 5.1 - Digital Theater Surround Sound (5.1 channels); CE - Collector's Edition; 16:9 - widescreen presentation enhanced for 16 x 9 widescreen TVs (aWidescreen aspect ratios; DD 5.1 - Dolby Digital 5.1 Surround Sound; DD 2.0 - Dolby Surround 2.0; DTS 5.1 - Digital Theater Surround Sound (5.1 channels); CE - Collector's Edition; 16:9 - widescreen presentation enhanced for 16 x 9 widescreen TVs (awidescreen presentation enhanced for 16 x 9 widescreen TVs (awidescreen TVs (anamorphic)

Back to the DVD: As usual, the GKids package includes a DVD disc that offers the film in 1.85:1 anamorphic widescreen SD, with Dolby Digital 5.1 audio (but not lossless) in dubbed English, the original Japanese, and French, with optional English SDH dubtitles, English translation for the original Japanese version, and French.

The package also includes a DVD disc that offers the film in 1.85:1 anamorphic widescreen SD, with Dolby Digital 5.1 audio (but not lossless) in dubbed English, the original Japanese, and French, with optional English SDH dubtitles, English translation for the original Japanese version, and French.

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.