Sentences with phrase «like anamorphic»

Not exact matches

Presented windowboxed in 1.65 anamorphic widescreen *, the film looks exactly like it did in theatres, all but confirming that the transfer was sourced from the 35 mm blow - up (Vincent Gallo's viewing preference) rather than the Super16 negative.

Those like me accustomed to seeing the Indiana Jones films in the wonder of degraded pan-and-scan videocassettes should rejoice at the sight of these DVDs, which offer higher resolution and preserve the considerable frame width in anamorphic widescreen transfers nearer to 2.35:1 than the 2.20:1 aspect ratios widely cited.

THE DVD - THE LOVELESS Blue Underground (another company that, like Subversive, was formed by émigrés from niche gold standard Anchor Bay) gives The Loveless a 1.85:1 anamorphic video transfer every bit the equal in terms of revelatory power of The Witch Who Came from the Sea's.

Like most modern television series, «Breaking Bad» is presented in 1.78:1 anamorphic widescreen and Dolby Digital 5.1 sound on DVD.

is showcased in an excellent 1.78:1 anamorphic widescreen transfer so fine in its shadow detail that every pock on Burton's face is like a cave in a lunar landscape.

You can tell this in the DVD's movie - like presentation of 1.78:1 anamorphic widescreen picture and Dolby Digital 5.1 sound.

Like most other 21st century primetime series, «Samantha Who» takes on the specifications of a major movie in 1.78:1 anamorphic widescreen and Dolby Digital 5.1 surround.

Earning its THX certification, The Village's 1.84:1 anamorphic widescreen transfer * invites adjectives like sumptuous and filmlike, and better yet, the studio seems to have curbed its recent habit of overfiltering the image.

and, like the previous featurette, in 1.85:1 anamorphic widescreen) overstates the significance of the picture's estrogen count (as well as the execution of its blink - and - you'll - miss - it German sequence), there is a mite more substance here than what you'd find in the American equivalent, even just in the underscoring of clips with Delibes's «Viens Mallika... Dôme épais le jasmin.»

Like just about every other show on television today, «The Middle» comes to DVD with 1.78:1 anamorphic widescreen picture and Dolby Digital 5.1 sound.

Warner's DVD version of McCabe & Mrs. Miller is unfortunately something of a disappointment in the technical department: the 2.35:1 anamorphic widescreen image is too black for a film that was pre-exposed in order to decrease contrast, while digital video noise reduction looks like it was rather severely applied to the intentionally gritty images, resulting in a general lack of detail.

Like just about all of its contemporaries, «Life on Mars» comes to DVD in 1.78:1 anamorphic widescreen and Dolby Digital 5.1 sound.

Columbia TriStar weighs in with a 1.85:1 anamorphic DVD presentation of Tokyo Godfathers that is, like Millennium Actress, marred by edge - enhancement, if much more vibrant - looking.

Wild Hearts Can't Be Broken is presented not in anamorphic widescreen like it was in the parts of the world where it was released to DVD first, but in a reformatted 1.33:1 fullscreen transfer as it was for its Disney Movie Club DVD debut last year.

«My philosophy with shooting digital is to break down the image in some fashion or other, and older generation anamorphics like our Panavision C - and E-series lenses [courtesy of Panavision Woodland Hills] really help with that.

Suffice it to say the transfer is intermittently noisy and generally looks like it's been subjected to a light cocktail of grain - filtering and edge - enhancement, though the anamorphic cinematography is naturally soft, with lens aberrations at times throwing the upper third of the image out of focus entirely.

John Gibbs and Douglas Pye's chapter is also interested in widescreen stylistics as they examine the contrasting styles of Otto Preminger's CinemaScope film River of No Return (1954) and Sam Peckinpah's Junior Bonner (1972), shot in Todd - AO 35 (a Panavision - like format based on Japanese anamorphic lenses).

DVD special features on the movie's single - disc, 1.85:1 anamorphic widescreen release include an audio commentary track with Favreau and co-producer Peter Billingsley, a look at the making of the accompanying videogame to the movie and a clutch of featurettes on the work of author Van Allsburg, the cast, the visual effects and the like.

But judged by the medium, the 1.85:1 anamorphic widescreen presentation is, like most Sony DVDs, just fine.

Presented in a 1.85:1 anamorphic transfer, Conquest, for what it's worth, suffers from no obvious digital artifacting problems, which strikes me as something like a minor miracle.

The infinifilm Rush Hour 2's greatest strength is a 2.35:1 anamorphic widescreen transfer that approximates the natural, chemical quality of celluloid like few others I've seen.

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 DVD by Bill Chambers Fox presents Fever Pitch on DVD in a 2.31:1 anamorphic widescreen transfer (fullscreen sold separately) that fluctuates between film - like and overtreated; there is a constant dimness, but chalk that up to cinematographer Matthew F. Leonetti, whose movies always make you think you have cataracts.

The otherwise irreproachable and film - like 1.78:1 anamorphic widescreen transfer of Once Upon a Time in Mexico is marred by a few motion blurs endemic to HiDef and a few compression artifacts for which the abundance of bonus material is to blame.

Presented, like all of today's DisneyToon Studios creations are, in a 1.78:1 anamorphic widescreen transfer, the film boasts immaculate picture quality.

Their extravagant symmetries of colorful plants, flowers and animals usually surround or cover human faces like elaborate headdresses or masks and evoke Mardi Gras revelers, Mayan carvings and the anamorphic portraits of the Renaissance painter Arcimboldo.

Two anamorphic landscape - like paintings by Minnette Vári — first seen earlier this year as part of her solo show Parallax at Goodman Gallery Johannesburg — as well as several typically humorous and confrontational works by Moshekwa Langa will be included.

Like Moment's prior lenses, the anamorphic is designed to go on top of the existing camera lens on your iPhone, Pixel, or Galaxy, altering the field of view it's able to see.