Sentences with phrase «film format for»

After working on television series and a documentary, Ana Kokkinos has returned to the feature film format for the first time since 1998's Head On.

Not exact matches

For that reason, many adults go to the movies to enjoy the latest animated film without children, not because they want to delight in «kid's stuff,» but because the genre offers poignant messages in a beautiful format that only these types of movies can really deliver.

«A notable new formulation created using our new multilayer extrusion process, is the ultra-thin LINtop ® PE HSF - a 25μm high barrier lidding film for retail - ready modified atmosphere packaging (MAP) formats.

Most recently, Jindal Films introduced SealTOUGH ™ films, which are designed as a substitute for PE films in general packaging applications on most pack formats.

Filming in these formats creates smaller files, which is convenient for getting high - quality video when 4K isn't necessary.

To achieve the high - definition needed for the big screen, Domino takes images which have been shot on movie film and converts them into a video format by breaking each of the 24 frames per second into a mosaic of 3000 × 2000 picture points.

I do nt understand the need for the region codes, there is PAL and NTSC, and nearly all forms of TV can display both formats, i think its just a way of the film companies keeping certain regions DVD prices at a very high level compared to others.

The commentary by Anderson for Hotel Chevalier is impressive in scope and information, as the director eloquently shares his love for short films and his desire to experiment in the omnibus format.

That done, his team have quite literally reworked the entire movie - reframing some shots, recolouring most of them, and generally spending an enormous amount of time making sure that this is the definitive version of the film for home video, both on DVD and on future higher - definition formats.

Disc 2 - contains a whole two layers full of the most interesting and entertaining extras we've yet come across for those who enjoyed this film and those who enjoy the DVD format in general.

For a film with a $ 150 million budget to look like television is unconscionable and it seems absurd that no one was able to convince Jackson not to adopt the format, or at least not to try it out on a franchise with so much riding on it.

While the made - for - television format limits the film, Titanic still delivers an impressively captivating adventure.

A portion of the film was shot in large - format IMAX, and the final draft of the script comes from Michael Arndt, best known as the guy now responsible for not screwing up Star Wars: Episode VII.

Gladly, the team keeps this from being pure spectacle or a gimmick that lives and dies with your ability to see this on a giant or slightly larger IMAX screen in 3D (premium formats were the film's exclusive home for nine days).

Jerry Bruckheimer - one of the two Hollywood producers credited with creating the blockbuster format - recently gave an interview to Latino Review in which he talked about all his upcoming film projects, including the adaptation of the Prince Of Persia: Sands Of Time videogame (advertisements for which have been digitally inserted into the upcoming chick flick Confessions Of A Shopaholic.

He's not new to the format — he did commentary for Slither, Super, even his screenwriting debut film Tromeo & Juliet — but you got ta figure he's been waiting his career for something like this and he's clearly engaged to share it all.

Phase 2 has seen Marvel experiment with all number of genres for their films, stepping back from Phase 1's almost cookie cutter format without getting too far from the formula that made them successful.

Released towards the end of the first 3D craze, the film was only screened theatrically in this format for two weeks.

As for the 70 mm presentation... considering most of the film is shot indoors, on a single set, is it fair of me to say that it seems like a waste of the format?

Released across several formats — among them, Disney Digital 3 - D, RealD 3D, IMAX and IMAX 3D — Beauty and the Beast was scored by Alan Menken, who composed music for the 1991 animated film.

That makes Infinity War the first movie shot entirely with IMAX digital cameras, and so when you see the film in IMAX screens, you're getting an image that was created specifically for that format from start to finish.

Part of the reason for this, possibly, is due to the new visual formatting in which the film is shot.

At a whopping 157 - minutes, the film can be a lot to take in, especially for someone who might not be able to adapt to the all - singing format.

There's little need or chance for this film to get a better transfer on this format.

Not only are «Get Out,» «The Shape of Water» and «Blade Runner 2049» some of the very best films of 2017, but from the no - budget indie realm («Prevenge,» «A Ghost Story,» «Transfiguration,» «Raw») to expensive studio epic scale («War for the Planet of the Apes,» «Kong: Skull Island») and newly blazed ground out of the predominantly formulaic superhero («Logan,» «Wonder Woman,» «LEGO Batman») and Star Wars («The Last Jedi») factory farms, fantasy filmmakers tried their hardest to be smart, visually adroit, sometimes startlingly innovative and — strangest of all for this escapist format — humanely, emotionally credible.

Released by various entities in all formats all over the world for years, The Monster Club is a very easy film to find and deserves to command a much bigger cult following.

(I didn't see the film in IMAX, but an hour's worth of it has been configured to fill up for the larger - screen format, and I'm certainly going to try it out.)

The call for special venue sound for 3 - D presentations seems to be an unlikely reality given the cost and small base of films released in the format.

Disney's approach to restoration was witchcraft in those early days of the format: Regarding celluloid as a transitory delivery system for animation, Disney archivists (somehow) managed to leach the image of film grain without harming fine detail.

Pictures left off in the eleventh hour run the gamut from the revolutionary Inuit banning fable Atanarjuat: The Fast Runner to the birth of the»80s Manchester scene 24 Hour Party People — films tied by a use of digital video that marks the beginning of a new viability for the format.

However the difference in format, with a more stringent focus on time and space here and the continuation of the story in future films, leaves room for new developments.

That last point is particularly important, because although it's easy to admire Tarantino's bravura storytelling — not to mention his moxie in resurrecting a large - format anamorphic film process that's been dead for 50 years — the schematic structure and derivative narrative he employs makes The Hateful Eight about as nuanced as bloody bootprints in the snow.

That's certainly a shame as you would think the film's second appearance on the format would present the perfect opportunity for Disney to provide some good in - depth bonus material the way they did for their two movies and to some extent, last summer's Season One box set of «The Muppet Show.»

Netflix has already completely rewritten the movie and TV - viewing rulebook by pouring a hundred million dollar budget into a film without a theatrical release, and creating their now ubiquitous «binge - watch» format that the service rolled out for the first season of House of Cards.

The 1:85 aspect ratio has been shaved to fit the 16 × 9 widescreen format and the mastering is weak, with unstable, noisy colors and hazy resolution, adequate for a bargain - priced film but not worthy of the beauty of John Huston's swan song.

Letterboxed at 2.35:1 and enhanced for 16x9 displays, the film looks very rich on the format, representing another exemplary effort from Fox Video.

The combo pack's DVD is not the same one sold on its own, but a disc stripped of bonus features, save for transferrable digital copies of the film in two formats.

«With your support, we will use our brand new Kinetta film scanner to make long - lost indie treasures available in a 4k digital format for the first time,» the page adds.

The format of the two films is almost identical: Guest begins «Mascots» with on camera profiles of several of the performers as they prepare to travel to Anaheim, CA for The 8th Annual World Mascot Competition (aka «The Furries»).

Thanks to its utter fidelity to 300's coarse aesthetic, this is a terrible demo disc for the format but an optimal showcase for the film.

Moms» Night Out looks decent enough for a $ 5 million film and the Blu - ray maintains Sony's standard of excellence on the format.

Final note for Bay Area readers: «Fantastic Beasts» is being presented in 70 mm at the Grand Lake Theatre in Oakland - the only Northern California movie house showing the film in this wide high - resolution format.

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.

The mini-series format does mean that any chance for the film to truly flow to a unique rhythm is disrupted by the need to end each episode with a «hook» to make sure viewers tune in to the next part.

The film, which is being directed by Neil Burger and stars Shailene Woodley and Kate Winslet, will be digitally re-mastered into the IMAX format for the release.

In a new video for Vanity Fair, the Russo Brothers, following Vanity Fair's «Notes on a Scene» format, commentate and diagram out the moment as it appears in the film, making particular note of framing, shooting decisions, and how Marvel's elaborate design work goes into making these momentous meetings work.

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.

It is educational, heartfelt, and adds immeasurably to the enjoyment of the film, although as with New Line's excellent Infinifilm format, my wish is for the studios to reserve such treatment for films that actually deserve it instead of formula dreck with questionable scholarly value like Driven and Blow.

Having been unavailable for many years and never before released on this format, the film makes a very basic and therefore fairly disappointing DVD debut.

Arriving over four years after the film's appearance on the failed HD DVD format, this disc is proclaimed a Limited Edition, treated to the increasingly common collectible Blu - ray book packaging, and even providing a digital copy (a rare inclusion for a catalog title).