Sentences with phrase «camera negative of»

BLUE SUNSHINE FilmCentrix, Region A The long - missing camera negative of this one - of - a-kind thriller turned up, in remarkably good condition, last year in a Seattle garage.

After a number of archival film elements were scanned at 4K resolution at Warner Bros.» in - house Motion Picture Imaging lab in Burbank, the original camera negative of the film came to light, providing the basis for the majority of the restoration — that is, until the negative's inferior final reel necessitated dipping into another archive altogether.

Not exact matches

The on topic Q&A included redesign plans for other streets, especially Queens Boulevard, why the administration attributes the reduction in pedestrian fatalities to Vision Zero and not to regular year - to - year variances, how the administration actually knows that driving speeds are reduced, why so few street redesign projects have been done on Staten Island, data for any changes in safety at this E.Tremont / Silver Street intersection, why Commissioner Bratton did not attend, why there are few speeding and failure to yield tickets issued in this (45th) precinct, the negative effect of speed bumps on emergency response vehicles, plans for marking and painting of roads, whether the mayor will seek additional red light camera authorizations from the state legislature, the paucity of criminal prosecutions against drivers who kill pedestrians and an estimate of money received from speed camera tickets.

Brand new 4K restorations of both the Theatrical Cut and the Director's Cut from the original camera negatives produced by Arrow Films exclusively for this release, supervised and approved by director Richard Kelly and cinematographer Steven Poster

THE BLU - RAY DISC The picture's Blu - ray transfer, letterboxed to 2.35:1 and compressed using the AVC codec, is excellent, bringing out the period colours and defining facial expressions while maintaining the look of a fairly fine - grained print taken from the Super35 camera negative.

Also, Kino Lorber Studio Classics has set Edward Ludwig's Javaro (1954) for release on Blu - ray / Blu - ray 3D and DVD, mastered from a 4K scan of the original camera negative and a 2K scan of the IP, with 3D restored by the 3D Film Archive.

Klowns is presented in 1080p high definition with a widescreen aspect ratio of 1.85:1 and a new English 5.1 DTS - HD MA (Master Audio) lossless track born of a new 4K scan of the original camera negative.

The U.S. theatrical release of the rediscovered camera - negative print of Jean Renoir's «Grand Illusion» by Rialto Pictures.

Special Features 4K Scan Of The Original Camera Negative With Standard Definition Inserts Slay Bells Ring: The Story Of Silent Night, Deadly Night — Featuring Interviews With Writer Michael Hickey, Co-Executive Producers Scott J. Schneid And Dennis Whitehead, Editor / Second Unit Director Michael Spence, Composer Perry Botkin, And Actor Robert Brian Wilson Oh Deer!

Criterion's BD release, sourced from the original camera negative, puts the lie to all of those earlier versions with its richly - textured shadows, searing whites, and twinkling 35 mm film grain.

Source elements (camera negative and a 35 mm print) were scanned at 4K and a digital restoration took place at 2K; the film is windowboxed to 1.72:1 for some reason, contrary to the box's claim of 1.66:1.

THE BLU - RAY DISC There isn't a ton of detail in the Super16mm camera negative, but Criterion's Blu - ray transfer of Rosetta, sourced from a 35 mm blow - up IP scanned at 2K and graded under the supervision of DP Alain Marcoen, seems to preserve every softly undulating granule.

From the superimposed crease patterns and dim, degraded image during these shots, I have to assume they were captured by pointing a camera at or through a screen at an actual projection — perhaps of a workprint, which would account for the minor but consistent wear - and - tear on the print itself, as well as its obvious generational distance from the negative.

The Criterion edition is mastered from a new high - definition scan of the original camera negative.

The picture quality is superior to previous releases, as Martin Scorsese supervised a 4k scan of the original camera negative.

Blood and Black Lace (Arrow / MVD, Blu - ray + DVD), Mario Bava's 1964 landmark, is my pick for the birth of the giallo, and the mix of poetic, haunting beauty with Grand Guignol gore and a bent of sexual perversity is beautifully serves in this astounding 2K restoration from the original camera negative.

Criterion presents the US home video debut of the film in a new 2K digital restoration mastered from the original camera negative.

Both films are remastered from new 2k scans of 35 mm prints struck directly from the camera negatives and the double feature (two discs on DVD, one on Blu - ray) includes new interviews with manga author Koike Kazuo and screenwriter Norio Osada.

Brand new restoration from a 4K scan of the original camera negative, with newly remastered stereo 2.0 and 5.1 DTS - HD MA audio options.s Formats: Blu - ray.

Walt Disney Studios Home Entertainment promises 1941's «Dumbo» has been restored to the color settings most likely approved by Walt Disney himself, using prints held by the Library of Congress (nitrate camera negative) and the film Academy (dye - transfer Technicolor).

In an early scene from Alfred Hitchcock's Rear Window, the panning camera reveals a framed photograph of a young, smiling blond woman — except, the image is on negative film, which serves as a presumable correlation for disabled protagonist Jeff's (Jimmy Stewart) outlook on women, which is tested in his gaze and projected desire from a lofty apartment window throughout the film.

You know, I'd trained, the first things I'd ever made in my film class were in black - and - white 16 mm, so there's echoes of that training to expose film, print film — I'd studied all of Ansel Adams's technical manuals, The Camera, The Negative, The Print.

Formats: Blu - ray with new 4K restoration of the film from the camera negative in its original 2.35:1 aspect ratio, produced by Arrow Video exclusively for this release; with original mono Italian and English soundtracks.

Special Features: • Brand new 2K transfer from the original camera negative • High Definition Blu - ray (1080p) and Standard Definition DVD presentations • Optional English SDH subtitles for the deaf and hard of hearing • Audio commentary with co-writer and producer Mardi Rustam, make - up artist Craig Reardon and stars Roberta Collins, William Finley and Kyle Richards • New introduction to the film by director Tobe Hooper • Brand new interview with Hooper • My Name is Buck: Star Robert Englund discusses his acting career • The Butcher of Elmendorf: The Legend of Joe Ball — The story of the South Texas bar owner on whom Eaten Alive is loosely based • 5ive Minutes with Marilyn Burns — The star of The Texas Chain Saw Massacre talks about working on Eaten Alive • The Gator Creator: archival interview with Hooper • Original theatrical trailers for the film under its various titles Eaten Alive, Death Trap, Starlight Slaughter and Horror Hotel • US TV and Radio Spots • Alternate credits sequence • Reversible sleeve featuring original and newly commissioned artwork by Gary Pullin • Collector's booklet featuring new writing on the film, illustrated with original archive stills and posters

Projection of a fine grain print, restored from the original camera negative.

In one of this disc's extras, Haneke mentions how the digital intermediate (DI) process allowed him to get unusually sharp monochrome images, and mastering the Blu - ray directly from DI elements allows technicians to keep all but the finest grain from the original camera negative at bay.

As part of this service, we make a test negative on the camera, print it, and conduct a detailed analysis of the transfer quality.

It's playful with its storytelling in honour of Godard (chapter headings, characters talking to the camera, eccentric edits and colour briefly switching to monochrome negative all pay homage).

Every tiny bit of the detail available in the original camera negative is apparent on screen, from subtle textures of dirt on faces and skin to wood, grass, straw, and stone.

Limited Edition box set (3000 copies) containing The Night Evelyn Came Out of the Grave and The Red Queen Kills Seven Times Brand new 2K restorations of the films from the original camera negatives High Definition Blu - ray (1080p) and Standard Definition DVD presentations Original Italian and English soundtracks in mono audio (lossless DTS - HD Master Audio on the Blu - ray Discs) Newly translated English subtitles for the Italian soundtracks Optional English subtitles for the deaf and hard of hearing for the English soundtracks Limited Edition 60 - page booklet containing new writing by James Blackford, Kat Ellinger, Leonard Jacobs and Rachael Nisbet

THE BLU - RAY DISC Criterion brings To Be or Not to Be to Blu - ray in an outstanding 1.37:1, 1080p transfer struck from a new 2k scan of the nitrate camera negative.

From the opening scene, an almost monochromatic chiaroscuro composition with strong diagonal lines (it was shot in an actual snowstorm), it's clear that Arrow's 1.85:1, 1080p transfer, sourced from a 2K scan of the original camera negative, is on the money.

The movie was shot in the two - perf Techniscope format, meaning each frame of camera negative has only half the resolution of a CinemaScope (i.e., four - perf) frame, and this 1080p (MPEG - 4 / AVC) transfer, letterboxed to 2.35:1, seems to capture every last bit of visual information.

New restoration from a 4K scan of the original camera negative by Arrow Films, approved by director Abel Ferrara and director of photography Ken Kelsch

Features both Blu - ray and DVD editions of the films, newly remastered from a 2K restoration from original camera negatives and featuring both Italian and English language soundtracks with optional English subtitles.

Arrow gives the film its American Blu - ray debut in a transfer newly mastered from a 2K restoration from the original camera negative, with both the Italian and English language soundtracks (note that American actor Mitchell's voice in the English version is one of many dubbed by Paul Frees) and newly translated subtitles for the Italian version.

NEW 4K Scan Of The Interpositive With Additional «Director's Cut» Footage From The Original Camera Negative

For the first time since the original release, this 70 mm print of 2001: A Space Odyssey was struck from new printing elements made from the original camera negative.

Camera (Technicolor, Panavision widescreen, Arri Alexa digital), Trent Opaloch; editors, Jeffrey Ford, Matthew Schmidt; music, Henry Jackman; music supervisor, Dave Jordan; production designer, Owen Paterson; supervising art director, Greg Berry; art directors, David E. Scott, Greg Hooper; set decorator, Ronald R. Reiss; costume designer, Judianna Makovsky; sound (Dolby Atmos / Dolby Digital), Manfred Banach; supervising sound editors, Shannon Mills, Daniel Laurie; sound designers, David C. Hughes, Nia Hansen; re-recording mixers, Tom Johnson, Juan Peralta; visual effects supervisor, Dan Deleeuw; head of visual development, Ryan Meinerding; visual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halley Finn.

Presented and remastered in 4K from the original camera negative, the 1080p presentation of the classic film has a 1.66:1 widescreen aspect ratio and a restored LPCM Mono track, both of which are of very high quality.

THE BLU - RAY DISC Scream Factory went back to the original camera negative for their Blu - ray edition of Sleepaway Camp, with documentary footage of the 2K scanning process to prove it.

As it stands, the 1080p 1.85 X 1 digital High Definition image looks fine throughout, shot with remarkable form by Anderson as an uncredited Director of Photography, his use of the grain in the advanced Kodak Vision 3 35 mm camera negative film stocks is superior and impresses throughout as it usually does in all of his films.

As stated in the included booklet: «Supervised by director of photography Yorick Le Saux and approved by director Olivier Assayas, this new digital transfer was created in 2K resolution on an ARRISCAN film scanner from the 35 mm original camera negative.»

Today, in the digital age, it's even harder to collect traces of a loved one; all their data is on cell phones, computers, and even digital photos instead of cameras and negatives.

Produced by Larry Fessenden's Glass Eye Pix, The House of the Devil reminds of Fessenden's own turns behind the camera (Wendigo in particular) in its icy patience, sure, but mostly in its absolute understanding of how to use negative space to evoke the things that are truly scary to people.

THE BLU - RAY DISC Likewise amazing, Criterion's Blu - ray release presents The Innocents in its original CinemaScope aspect ratio of 2.35:1, in a 1080p transfer the liner notes describe as «created in 4K resolution on an Oxbery wet-gate film scanner from the 35 mm original camera negative.»

Arrow Academy presents Orchestra Rehearsal utilizing a recent 2K restoration of the film from the original 35 mm camera negative.

Arrow Academy presents Images as a brand - new restoration from a 4K scan of the original camera negative.

The first of several films to be adapted from Barker's seminal Books of Blood series, Rawhead Rex has garnered a strong cult following over the years — now clawing its way to the surface in a stunning new 4K restoration from the original camera negative.

We can see the flaws too, like the failed focus - pull as Elliott's canoe drifts towards the camera, or the visible cigarette burns at upper right (meaning this probably wasn't mastered from the negative), or the clumsy splice right through the middle of Elliott's lean and handsome face around nineteen minutes in.