Sentences with phrase «in the aspect ratio from»

The shift from higher resolutions might be partly due to the shift in aspect ratio from 16:9 (or 16:10) to 4:3, or it could simply be that the returns for that resolution weren't hugely apparent.

The display covers most of the device, and although larger than the LG V20, its footprint is smaller due to the change in aspect ratio from 16:9 to 18:9.

Not exact matches

A theology which seeks to explain the Incarnation in terms of «from below to above» merits from Pope John Paul the withering criticism «inadequate, reductive and superficial» (Fides et Ratio 97) because it tries to view the Incarnation from a human philosophical perspective without taking into consideration the aspect of divine mystery which is essentially «from above».

The team used titanium dioxide, a ubiquitous material found in everything from paint to sunscreen, to create the nanoscale array of smooth and high - aspect ratio nanostructures that form the heart of the metalens.

Harold & Kumar Escape from Guantanamo Bay appears in an aspect ratio of approximately 1.85:1 on this Blu - ray Disc.

Harold & Kumar Escape from Guantanamo Bay appears in an aspect ratio of approximately 1.85:1 on this single - sided, double - layered DVD; the image has been enhanced for 16X9 televisions.

Presented in its original 2.35:1 aspect ratio, this 1080p transfer of Seeking a Friend for the End of the World looks great from start to finish.

Also, it is important to note that the Dark Knight changes its aspect ratio from 2.40:1 to 1.78:1 in several major action sequences.

For an additional preview look at how all the films have been newly tweaked for this Blu - ray release, including aspect ratio framing, color corrections, soundtrack enhancement and the replacement of the «Muppet Yoda» with an all - CGI version in the Phantom Menace, check out the report from Slash Film.

The picture and sound quality is fantastic, as is to be expected from Criterion, presenting the film in its original aspect ratio and providing a print which is clean but natural - looking.

The DVD looks great for a show from the 70's and comes presented in its original aspect ratio of 1.37:1 and is in full frame.

Whatever the reasoning, in case you haven't already guessed it from the screencaps or the little table above, The Shaggy D.A. is one of the few lucky Dean Jones comedies to appear in its theatrical aspect ratio.

From this clarification and the rest of this month's releases, it certainly appears that the studio is making a wholehearted effort to release their catalogue titles to DVD in their original aspect ratio.

The Blu - ray disc has the film in a gorgeous 1080p High Definition picture (2.35:1 aspect ratio) where every piece of magic is crystal clear from my accounts.

The new 2K scan was made from the original film negative and retains the grain and softness you would have seen during its original release in 1974, as Scream Factory has not applied any digital noise reduction and restored the original 1.85:1 aspect ratio used in U.S. theaters.

Loved It's Marvel VS. Capcom 2: Aside from the widescreen aspect ratio, some next - to - useless graphics filters, and different menus, this is the same game that thrilled us in its previously released incarnations.

This 1080p transfer, in the original 1.37:1 aspect ratio, is just about as solid as one could want from a 1940s studio noir.

Still, the movie has been lovingly restored in its original widescreen aspect ratio with pristine image quality, a far cry from old VHS bootlegs.

And then there's The Train Robbers, presented in its expansive Panavision aspect ratio (2.35:1) and anamorphically enhanced to wring every last byte of information from Kennedy's vistas.

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.

His work in «Meek's Cutoff,» gorgeously shot in a minimalist and naturalistic style (in a pre-1940s square - ish 4 × 3 aspect ratio no less) was stunning and similarly natural, almost underlit work in Ry Russo - Young «s «Nobody Walks» was equally striking in a way that feels like Blauvelt has learned much from Savides.

Filmmakers began to create their films in widescreen aspect ratios, ranging from 1.75:1 to the extremely wide 2.75:1.

With accurate information on the aspect ratio of these films so hard to come by, it's difficult to draw conclusions... but from the best information I've gotten, The Fox and The Hound is the only Disney animated classic to not be in the aspect ratio it was animated or exhibited in.

Shot in a boxy aspect ratio and permeated with Daniel Hart's marvelous score, «A Ghost Story» mines considerable power from the simplest of premises.

While all films in the set ring with Hammer's trademark attention to colour process, offering bloody reds and fleshy fleshtones, Horror of Dracula's 1.77:1 anamorphic widescreen image (recropped from its original 1.66:1 aspect ratio) is sadly jumping with grain so dense it's at times almost misty.

Skip the 2 - minute blooper reel and stay far the hell away from the music video for Kyle Massey's hip hop rendition of the «Underdog» theme, leaving just the two vintage «Underdog» shorts («Safe Waif» and «Simon Says,» both from 1964), which Disney has thoughtfully remastered in 1080i while retaining the cartoon's original aspect ratio of 1.33:1.

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.

All of them are presented in standard definition and, aside from the trailer, the outmoded 1.33:1 aspect ratio.

Would've placed higher but Cohen's 4K restoration has a weird aspect ratio (2.47:1) and appears to these eyes to be undersaturated and lacking in contrast, although I trust James Ivory's on - board director's statement that the film has never looked better, since a 70 mm blowup resulted in previous transfers being too many steps removed from the original negative.

THE BLU - RAY DISC Arrow Video's Blu - ray release does the movie justice and then some, delivering it in a 1080p transfer from a new 2K master made from «original film elements,» slightly letterboxed to a historically accurate 1.85:1 aspect ratio.

1977 • 127 minutes • Color • 5.1 surround • In English, French, and German with English subtitles • 1.66:1 aspect ratio DIRECTOR - APPROVED SPECIAL EDITION FEATURES • New, restored 4K digital transfer, supervised by director Wim Wenders, with 5.1 surround DTS - HD Master Audio soundtrack on the Blu - ray • Audio commentary from 2002 featuring Wenders and actor Dennis Hopper • New interview with Wenders • New interview with actor Bruno Ganz • Deleted scenes with audio commentary by Wenders • Trailer • New English subtitle translation • PLUS: An essay by author Francine Prose TITLE: THE AMERICAN FRIEND (BLU - RAY EDITION) SRP $ 39.95 PREBOOK 12/15/15 STREET 1/12/16 CAT.

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.

Presented in 1080p high definition with a 1.65:1 widescreen aspect ratio (original ratio was 1.85:1) and complete with a Spanish DTS - HD MA (Master Audio) 2.0 (mono or simple stereo, its hard to tell) track, the film has been nicely restored here from its original 35 mm film elements and has a detailed sound mix with some interesting design work.

From Here to Eternity appears in an aspect ratio of 1.33:1 on this Blu - ray Disc.

This mode screws up the aspect ratio of the game in exactly the same way split - screen multiplayer did in Sonic 2, which is either a fun nostalgic nod or a strange annoyance depending on how fondly you look back at the quirks of a game from 25 years ago.

, I Wan na Be a Life Guard, Let's Get Movin», Never Kick a Woman, Little Swee'Pea, Hold the Wire, The Spinach Roadster, Popeye the Sailor Meets Sindbad the Sailor, I'm in the Army Now; 1937: The Paneless Window Washer, Organ Grinder's Swing, My Artistical Temperature, Hospitaliky, The Twisker Pitcher, Morning, Noon and Nightclub, Lost and Foundry, I Never Changes My Altitude, I Like Babies and Infinks, The Football Toucher Downer, Protek the Weakerist, Popeye the Sailor Meets Ali Baba's Forty Thieves, Fowl Play; 1938: Let's Celebrake, Learn Polikeness, The House Builder - Upper, Big Chief Ugh - Amugh - Ugh Video & Audio; Bonus Features: Retrospective Documentaries, Popumentaries, Audio Commentaries, From the Vault; Menus and Packaging; Closing Thoughts Running Time: 422 Minutes (7 hours, 2 minutes) / Rating: Not Rated 1.33:1 Fullscreen (Theatrical Aspect Ratio) / Dolby Digital Mono 1.0 (English) Subtitles: English; Closed Captioned; Six - sided Digipak in Cardboard Slipcover Originally Released between 1933 and 1938; DVD Release Date: July 31, 2007 Four single - sided, dual - layered discs (DVD - 9); Suggested Retail Price: $ 64.98

Feature Film Presentation Presented in Widescreen 1:77:1 aspect ratio with picture direct from Pixar's digital source.

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.»

We see this in the way they're produced, from their star power and jump scares to their aspect ratios and sumptuous imagery.

Its 1:33:1 aspect ratio preserved, the picture looks surprisingly vivid considering the 16 mm source (the 1080p transfer, according to the liner notes, was culled from the original negative), boasting faithful colour reproduction and clarity, most noticeable in the sharp text on the campaign posters that line the titular location.

THE DVD Paramount releases Permanent Record in a barely - registering DVD that distinguishes itself from the old VHS I have only by its aspect ratio (1.85:1), the anamorphic transfer riddled with particulate debris that makes every shot look a lot like it was taken from inside a honky - tonk.

The disc is presented in 16 × 9 anamorphic widescreen, approximating the original release aspect ratio just fine, and the image is solid, from a clean, well - kept black - and - white print.

Films released in 1954 dealt with the industry's transition from 1.37:1 Academy to widescreen aspect ratios in different ways.

This seems to be indicative of Disney's newfound appreciation for releasing catalogue titles in their original aspect ratio, judging from the specs issued for June's slate.

Previously available in a movie - only edition from MGM, Criterion delivers a stunning DVD and Blu - ray two - disc edition with a magnificent transfer and the correct aspect ratio (1.66:1, not the open - matte 1.33 as previously released, which reveals the top of the set in at least one scene).

Previously available in a movie - only edition from MGM, Criterion delivers a stunning DVD and Blu - ray two - disc edition with a magnificent transfer and the correct aspect ratio (1.66:1, not the open - matte 1.33 as previously released, which reveals the top of the set in at least one scene), on a two - disc set featuring with commentary, an original 40 - minute documentary, new and archival interviews and clips, but the great treasure is the 159 - minute documentary Charles Laughton Directs The Night of the Hunter, an unprecedented look at a director directing composed almost entirely of recently discovered outtakes and production footage from the film.

In fact, as you can see from the screenshots, Noitu Love: Devolution's aspect ratio is even 4:3.

Demme changes the aspect ratio from 16 × 9 to Cinemascope, swaps the pale color palette for warm hues and starts shooting in a more conventionally bland style.

The original 1962 trailer is also here, and it's a bit disarming to see it not only in such worn, scratched - up shape, but also in an incorrect aspect ratio (the «L» of «Lawrence» and the last «A» in «Arabia» are cropped from the sides).

The new high - end tablet lineup from the Seoul - based tech giant will return to its aspect ratio roots, the benchmark suggests, indicating that the Galaxy Tab S4 will feature a 16:10 panel, one that hasn't been found on a premium tablet from Samsung since the original Galaxy Tab S released in 2014.