The problems are most evident in dark shots and transitional wide shots of city landscapes, but they turn up during
regular daytime scenes too.
Nighttime jungle sequences creep onto the screen with dramatic contrast
while daytime scenes startle with vibrant greens.
There is not a
single daytime scene where the sun isn't shining — in New York — in fall — and winter.
And as Bordello sports
more daytime scenes (which is weird for a vampire movie, you'll agree), the corner - cutting is harder to ignore.
The images look very good, as the picture is very sharp and clear, showing only the most minute amount of grain during the very
bright daytime scenes.
Clarity and fine object detail in
daytime scenes are just fine, with everything from facial features, exosuit design, and the mimic creatures looking solid.
The daytime scenes are filled with light, vibrant, colorful and incredibly detailed (the digital camera has an unbelievable depth of focus), while the night scenes are blurry, fuzzy, and impressionistic.
Daytime scenes and the few decently - lit interiors fare a little better with some depth and acceptable facial detail.
The production values and costumes appropriately feel «50s Hollywood, and the great cinematographer Roger Deakins soaks
the daytime scenes in sunshine to convey a surreal mood.
Suffice it to say, the picture is immaculate, detailed, sharp, and rich, skillfully handling a wide range of colors and a fair mix of dark and
daytime scenes.
If the love story in «Pretty Woman» is inspired by «Cinderella,»
the daytime scenes are «Pygmalion,» as the hotel manager (Hector Elizondo) takes a liking to his best customer's «niece» and tutors her on which fork to use at a formal dinner.
The nighttime scenes are just as clear as
the daytime scenes.
The images are sharp and clear, but there is a noticeable amount of grain on the image in most of
the daytime scenes.
In contrast,
the daytime scenes look fine.
Making it dark outside simplified the graphical obligations (the windows, for instance, became less complicated once they weren't looking out over
a daytime scene).