Sentences with phrase «color film transferred»

GILBERT & GEORGE The World of Gilbert & George (still frame), 1981 16 mm color film transferred to video dimensions variable LM19807

16 mm color film transferred to video, sound.

Not exact matches

This model predicts the stretch and distortion of color films and creates a map between the locations on the film and the surface locations to which they are transferred.

Throughout the process, the color ink printed on the PVA film is transferred to the surface.

Working with researchers at Zhejiang University in China, Changxi Zheng, assistant professor of computer science at Columbia Engineering, has developed a technique that enables hydrographic printing, a widely used industrial method for transferring color inks on a thin film to the surface of manufactured 3D objects, to color these surfaces with the most precise alignment ever attained.

The film's 1080p transfer is stunning, with the actors» skin tones, tanned or not, rendered accurately, and the bright colors of the Spanish - set scenes countering the dark grading of the England sequences with exceptional clarity, though the level of grain is sometimes excessive, and as such distracting.

The transfer boasts superb color richness and clarity, particularly the earthy blues, greens, and grays that dominate the film's aesthetic.

Breathtaking digital transfer perfectly captures the tone of the film, with strong shadows, warm colors and excellent attention to detail.

Blue Underground refurbishes Venom with a high - definition transfer that serviceably restores the film's muted color palette and image clarity.

The film is much darker in color and tone compared to «An Unexpected Journey» but I think that the 1080p transfer really looks even better than the first film.

There are no such problems to be found here, as this newly minted transfer, taken from the original digital intermediaries and color corrected for home video (as it's a different color space than film), is as flawless as its successor, Dead Man's Chest.

The 1080p transfer really brings out the color in the film and looks very sharp.

The 1.78:1 16x9 - enhanced widescreen transfer indeed dazzles and while the film's visuals aren't as stunning as some other CGI cartoons, they're easy on the eyes and filled with vivid, pleasing colors.

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 2012, Fox / MGM released a glorious new Blu - Ray with a beautiful color picture transfer that enhances the film grain.

The new HD transfer has virtually no signs of wear, so the film's vibrant colors really pop and Kon Ichikawa's spectacularly rich mise - en - scène looks as good as new.

Anyway, as it stands it is a prime example of how pretty 4K HDR can look in a transfer and it does a good job of showing the most color range of all the first four films.

This film's merit lies in its stunning color photography, for which it won the Academy Award for Best Cinematography, which is also why the new Blu - ray release from 20th Century Fox's is a total winner: the film has received a glorious transfer with results that are nothing short of dazzling.

These films come with outstanding high - def 1080p transfers from their original vault materials both presented in 1.66:1 aspect ratio, featuring all - new color correction supervised by Synapse Films.

Where Eagles Dare looks good in its high - def debut: it's a film - like transfer that's clean and sharp, marred only by the occasional distraction of wavering color (a symptom of the available film elements, I presume).

The 1080p 1.66 X 1 digital High Definition image transfer on Virgin Suicides has stunning color grading (also a 4K scan from the original 35 mm camera negative), making the film look as great as it ever has and not only increases its smooth density, but its realism and naturalism, no matter how dream - like it gets.

Every nuance of the filmic image seems to make its way into the transfer, which gets top marks in every category: natural - looking film grain, spot - on color and contrast, inky blacks, and fine detail.

This is a beautiful transfer of a nicely - shot film, exhibiting a pleasing sharpness and a great range of color and detail.

While the film does seem a bit soft and the»60s color palette somewhat muted, the transfer is free from any serious problems.

Twilight Time's Blu - ray release of The Twilight Samurai is, as usual, short on extras, but the print transfer is immaculate; delivering on the muted tones of Yamada's earlier scenes, with color saturation slowly transitioning to a deeper richness as the film progresses.

Reflecting its setting, Queen of Katwe is a colorful film, whose vivid colors delight in the Blu - ray's pleasing 2.40:1 transfer.

The colors in the transfer are very good, as director Sara Sugarman has filled the film with pastels and bright hues.

The colors are magnificently vibrant in this transfer, which presents the film in the original aspect ratio of 1:85:1.

features a strong transfer with nice color reproduction, surprising detail, and a healthy layer of authentic film grain intact.

«Dragon Ball Z: Battle of Gods» delivered a solid Blu - ray presentation courtesy of FUNimation Entertainment The 1080p transfer in 1.78:1 looks amazing with this films colors and animation style.

Enough to make you think that VistaVision was developed by Paramount engineers with Blu - ray in mind, their high - definition transfer of Hitchcock's film — the second in his career to take the Best Cinematography Oscar — is one of the best - looking home - video reproductions of a color film I've ever seen, up there with the studio's own disc of North by Northwest, or Criterion's The Leopard.

The 1080p transfer is decent giving the bland colors and boring locations that this film had to work with.

Audio Commentary by Updated 2003 Audio Commentary by Film Historian Bruce Eder, and Herrmann Biographer Steven C. Smith / «Here Is A Man» preview version comparison (4:37) / Reading of «The Devil & Daniel Webster» short story by Alec Baldwin (33:41) / Radio Plays: «The Devil & Daniel Webster» (29:50) from Aug. 6, 1938 + «Daniel Webster & the Sea Serpent» (29:43) from Aug. 1, 1937 / «About the Columbia Workshop» essay / «The Devil In Context»: 6 - part Bernard Herrmann score essay with indexed film clips and 4 stills / Still and Poster Gallery with 12 images / 12 - page colour booklet featuring an essay by author Tom Piazza, and original 1941 New York Times article by Stephen Vincent Benet, and Color Bars / New high - definition transfer with restored image and sound / 12 page colour boooklet

Often working with both color and black - and - white stock, Melconian digitally transfers the film after shooting it and then begins editing.

Panoramic film installation: Super 8 film transferred to video and HD video, black - and - white and color, silent; 35 min., looped.

Single channel film installation (16 mm film transferred to HD video, color / sound), 3:29 min.

The Swordsman, 2004 35 mm film, color, silent, transferred to DVD 1:00 minute Performer: Bob Anderson Installation view, Mungo Thomson: New York, New York, New York, New York John Connelly Presents, New York, USA

Yass filmed the process in color before transferring it to high - definition video, to combine the warmth of one medium with the clarity of another.

16 mm film transfered to video (color, silent), 18 min.

Phillip Stearns creates gorgeous, abstract nebulas of color by running 15,000 volts through instant film in his new photo series at the Transfer Gallery, «High Voltage.»

STAN VANDERBEEK Poemfield No. 1, 1967 16 mm film transferred to HD video color, silent, 5:00 min.

16 mm film transferred to video, color, sound.

Six - screen film installation, color infrared film transferred to HD video.

Super-8mm film transferred to high - definition digital media, color, silent Running time: 3:42 minutes Edition of 8 with 3 APs

16 mm film transferred to HD video, sound, color; 38 min.

Ana Mendieta Creek, 1974 Super-8mm film transferred to high - definition digital media, color, silent Running time: 3:11 minutes Edition of 6

Pat O'Neill: still from Runs Good, 1970; three - channel continuous video projection, transferred from 16 mm film; color, silent; BAMPFA, museum purchase: Phoebe Apperson Hearst, by exchange.

Pierre Huyghe This Is No Time for Dreaming, 2004 24», 16 mm film transferred to HD DVD color, English Courtesy of the artist and Marian Goodman, New York

8 mm film transferred to digital video, color, sound, continuous loop.

Brent Green: still from Gravity Was Everywhere Back Then, 2010; 16 mm film and digital photographs transferred to digital video; color, sound.