Not exact matches
Boland and colleagues showed for the first time that, in
films of nanocrystalline copper
just tens of nanometers thick, peaks and dips appear where misaligned
grains meet.
The
film's striking images — an isolated gothic mansard - roofed mansion standing alone on the prairie, the dark silhouette of a scarecrow in the field, an enlarged shoot of
grain coming up through the soil, a grasshopper chomping a head of wheat, a wine glass under water following a furtive tryst — are charged with emotion and meaning, never there
just for effect.
It's not as crisp as most new productions, but the
grain actually works for the
film, lending it the abovementioned Omen feel that fits in with the story
just fine.
The print shows the
grain of a
film just this side of two decades old, but the colours are unexpectedly warm and lurid, particularly in chapter 10 as the gore gets going full blast and a chorus of bogeys are illuminated in a doomed ambulance's headlights.
1970s American
films have generally always looked ugly to me, but Friedkin, amping up the
grain and blurring the colors came up with a visual look
just as gritty as the hardcore grunginess of his lead character.
The video bitrate averages 30 Mbps, enough to handle a velvety layer of
film grain, and the picture looks
just about exactly right.
The image here mostly
just falls down in shadow detail, which is a significant issue for a
film with as many low - light scenes as this one; this is not going to be a disc to show off your home theater, but it's a natural transfer that looks pretty much as one would remember the
film looking in 1990,
grain and all.
The attention to detail even included the avatars themselves; though all the actors were
filmed using performance capture,
just like the rest of the movie, for The Shining scenes, the final renders were sent through a «
grainer lens.»
The crisp image has
just a touch of
grain, even though the entire
film was shot digitally.
Of course you take that prediction with a
grain of salt, but
just let me say it leads to the
film's absolute funniest sequence in which our hero must essentially reinvent himself in a way that won't be revealed here other than to say the Basic Instinct parody alone is worth the price of admission.
So I think that
film has to be taken not
just with a
grain of salt, but understood to be a pro-privatization
film.»