Sentences with phrase «anamorphic widescreen transfer as»

THE DVD by Bill Chambers Sony, er, shepherds Don't Come Knocking to DVD in a 2.37:1 anamorphic widescreen transfer as painterly as the film being rendered.

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

Not exact matches

The 1.78:1 anamorphic widescreen transfer is exactly as the makers would want it to be.

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

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.

The 2.40:1 anamorphic widescreen transfer is a disciplined rendering of volatile elements, as evidenced by the «control group» of those two or three shots that don't induce seizures.

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 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 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.

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.

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 first platter contains the film in a beautifully - saturated 1.85:1 anamorphic widescreen transfer that comes across as warm, free of defect, and exceedingly bright.

THE DVD DreamWorks presents Millennium Actress on DVD in a 1.78:1 anamorphic widescreen transfer that is as sharp and colourful as the palette warrants, though edge enhancement does prove occasionally distracting.

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.

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.

Fox's 2.35:1 anamorphic widescreen transfer of The Towering Inferno is every bit as sophisticated as their work on The Poseidon Adventure.

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.

THE DVD The DVD release of Antitrust is presented as a sparkling, 16x9 - enhanced, widescreen anamorphic transfer at 2.35:1.

Immaculate is the word for the 2.35:1 anamorphic widescreen transfer of Gone in Sixty Seconds proper, and the Dolby Digital 5.1 audio is as aggro as you'd expect for a picture that leaves a residue of testosterone in its wake.

Sporadic «jaggies» and some light banding aside, the 2.35:1 anamorphic widescreen transfer of The Chumscrubber proper is impeccable, while the accompanying Dolby Digital 5.1 audio is quite playful, particularly whenever the titular post-apocalyptic superhero — yeah, there are a few desperate bids for cult status, but at least Thumbsucker's insufferable New York - as - Shangri - La subtext is studiously avoided — rears his head.

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.

The anamorphic widescreen transfer of the feature film on disc one isn't quite so lovely as the packaging; the print exhibits some scratches and the subtitles (which, thankfully, are on the bottom black bar, so as to get a clearer view of the picture) have a strange tendency to sport quotation marks at random, but the flaws won't ruin one's enjoyment of the film.

You'd think all that would be enough to interest a U.S. distributor yet the 2007 release has gone straight to DVD three years later, in a decent 2.35:1 anamorphic widescreen transfer with a trailer as its only extra.

As hinted at earlier, the photography is rich, warm, and varied and the disc's 1.78:1 anamorphic widescreen transfer preserves the visuals in all their glory.

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).

The 1:85:1 anamorphic widescreen transfer on Disc 2 for starters is the better option, as it provides the original theatrical ratio and none of Disc 1's claustrophobia.

THE DVD Disney brings Teacher's Pet to DVD in a «family friendly» 1.66:1 anamorphic widescreen transfer that preserves the film's theatrical aspect ratio, making me really pretty puzzled as to what exactly is meant by «family friendly.»

THE DVD Artisan presents a more than adequate 1.85:1 anamorphic widescreen transfer on DVD (as well as a 1.33:1 pan-and-scan on the same side of the platter) that belies the relatively low budget and production values of the film.

MGM's new Thelma & Louise: Special Edition boasts a brand - new 2.35:1 anamorphic widescreen transfer that, with a few exceptions, is about as good as one might hope.

As for the soft, greyish 1.85:1 anamorphic widescreen transfer (a separate full - frame version is also available — be careful, as the two are differentiated on the back of the case rather than on the front), do not adjust your set: you're in Adrian Lyne territory noAs for the soft, greyish 1.85:1 anamorphic widescreen transfer (a separate full - frame version is also available — be careful, as the two are differentiated on the back of the case rather than on the front), do not adjust your set: you're in Adrian Lyne territory noas the two are differentiated on the back of the case rather than on the front), do not adjust your set: you're in Adrian Lyne territory now.