Sentences with phrase «mm film prints»

20th Century Fox plans to release it in all widescreen formats and Imax but also in select 70 mm film prints when it opens on Friday.

Working from multiple elements, including standard definition video masters and a 35 mm film print, a project team created a new uncropped, high definition digital master that better represents the pictorial quality of the original videography, so this will be a very special screening indeed.

Skate the Sky Film 35 mm film print of clouds in the sky covered with ink, Ho - HoÍs, and Melon juice — filmstrips taped to Tate Turbine Hall ramp and skateboarded over using ollie, kick flip, pop shove - it, acid drop, melon grab, crooked grind, bunny hop, tic tacs, sex change, disco flip — skateboarding performed live for Long Weekend by Thomas Lock, Louis Henderson, Charlotte Brennan, Dion Penman, Sam Griffin, Jak Tonge, Evin Goode and Quantin Paris, clouds shot by Peter West 2009

Shred the Gnar Full Moon Film Noir (35 mm film print and negative shredded and stomped on by a bunch of Snowboarders and a few Skiers getting ginormous catching air during Aspen Big Air Competition and Fallen Friends Event — marked up with blue course dye — sprayed with Diet Coke, Bud Lite & Whiskey — taken hot tubbing with Epsom salts, rubbed with Arnica, K - Y Jelly, butter and Advil — full moon shot by Peter West) 35 mm film transferred to high definition video, 5 minutes 9 seconds 2010 Image courtesy of the artist.

Skate the Sky Film (35 mm film print of clouds in the sky covered with ink, Ho - Ho's, and Melon juice - filmstrips taped to Tate Turbine Hall ramp and skateboarded over using ollie, kick flip, pop shove - it, acid drop, melon grab, crooked grind, bunny hop, tic tacs, sex change, disco flip - skateboarding performed live for Long Weekend by Thomas Lock, Louis Henderson, Charlotte Brennan, Dion Penman, Sam Griffin, Jak Tonge, Evin Goode and Quantin Paris, clouds shot by Peter West), 2009

Not exact matches

«While the era of 35 mm will end at this time, there will still be some older films circulating in print for some cinemas,» Hancock said.

Special Guests: Seven out of the eight films shown will be in old - school 35 mm prints, and the other is in digital format.

I've never seen a 35 mm print of The Deep, so it's impossible for me to say whether this is an accurate representation of the film, but the cinematographer's experience with Technicolor photography suggests the saturation could well be intentional, if a bit unnatural.

After its initial release, the film was neglected to the point that it was almost lost, being rescued in 2004 after the chance discovery of an original 35 mm print.

But before that arrives, lucky cinephiles will have the chance to revisit the original film as a pristine 35 mm print of an uncut version of the film was found by the Chicago Cinema Society.

Over 90 % of their screenings were of 35 mm prints, and it is great to know that many film archives are continuing to make film copies of their most recent restorations, even though they will be screened very rarely.

Details The Texas Theatre presents a 35 mm print of Dario Argento's cult classic giallo film Deep Red (1975), 8 pm, June 30, at the theater.

For what is in essence a catalogue title, Paramount graciously provides DD 5.1 audio (adapted, one presumes, from the six - track mix that adorned 70 mm prints of the film) that gives all six speakers a surprisingly muscular, multi-directional workout.

Source elements (camera negative and a 35 mm print) were scanned at 4K and a digital restoration took place at 2K; the film is windowboxed to 1.72:1 for some reason, contrary to the box's claim of 1.66:1.

Warner Archive's George Feltenstein explains, «We thought there was no extant 35 mm material and John Garfield's 16 mm print from NYU would be our only source to complete the film.

Every day this weekend, on New York City's Lower East Side, the Metrograph will give moviegoers the chance to see Todd Haynes's 1995 film Safe in a 35 mm print.

THE DVD Innerspace is available on DVD from Warner Home Video in a presentation that contains a 1.78:1 anamorphic widescreen transfer of the film along with 5.1 Dolby Digital sound likely based off the six - track mix that accompanied 70 mm prints.

I believe it's a fairly pure port of the six - track mix that accompanied 70 mm prints of the film, as there's nothing particularly digital about it.

When Anderson went on to make his next film, his ingenious Thomas Pynchon adaptation «Inherent Vice» (2014) he shot it in 35 mm but had a couple of 70 mm prints blown up from it that have only received a handful of public screenings to date.

Both films are remastered from new 2k scans of 35 mm prints struck directly from the camera negatives and the double feature (two discs on DVD, one on Blu - ray) includes new interviews with manga author Koike Kazuo and screenwriter Norio Osada.

Extras: «Night of Anubis,» a never - before - presented work - print edit of the film; new program featuring filmmakers Frank Darabont, Guillermo del Toro, and Robert Rodriguez; never - before - seen 16 mm dailies reel; new piece featuring Russo about the commercial and industrial - film production company where key «Night of the Living Dead» filmmakers got their start; audio commentaries from 1994, featuring Romero, Russo, producer Karl Hardman, actor Judith O'Dea, and more; archival interviews with Romero and actors Duane Jones and Judith Ridley; new programs about the editing, the score, and directing ghouls; new interviews with Gary R. Streiner and Russel W. Streiner; trailer, radio spots, and TV spots; an essay by critic Stuart Klawans.

You know, I'd trained, the first things I'd ever made in my film class were in black - and - white 16 mm, so there's echoes of that training to expose film, print film — I'd studied all of Ansel Adams's technical manuals, The Camera, The Negative, The Pprint film — I'd studied all of Ansel Adams's technical manuals, The Camera, The Negative, The PrintPrint.

Park Circus have announced that they are set to tour five classic films from auteur filmmaker Paul Thomas Anderson, all presented in 35 mm prints...

The fest also provides one of the few opportunities available in St. Louis to see films projected the old - school, time - honored way, with Jean Renoir's «Boudu Saved from Drowning» and Julien Duvivier's «Pépé le moko» screening from 35 mm prints.

Yek Ettefagh - e Sadeh (A Simple Event, Sohrab Shahid Saless, 1973) A definitive Iranian New Wave film: on a 35 mm print.

Fifty years after the film's release in France, Rialto Pictures has acquired the U.S. rights to a new 35 mm print of Jean - Luc Godard's New Wave groundbreaker, which showed at this year's Berlin...

Aside from some crushed blacks and clipped whites (it's not outrageous to assume that Scream pumped up the exposure to help make this dark film a bit more legible), the transfer, with its patina of grain and mild speckling (both positive and negative), is pleasantly evocative of a 35 mm print after a few showings.

The image looks like a great 35 mm print from the era should, boasting the right amount of film grain and picture detail.

Wellman's son William Wellman, Jr. delivers audio commentary on Kino Lorber's upcoming home video release of Beggars of Life, which utilizes the best print of the film known to exist, the 35 mm version preserved at George Eastman Museum.

The only way to see this film properly is if you knew someone with a 35 mm print.

Film programmer at the Hollywood Theatre in Portland, Oregon (the Indiana Jones of film archivists) Dan Halsted, presents the only known 35 mm print of this martial arts masterpiece!

Human 1980s anecdote machine Frank Henenlotter returns with Chasing Banksy, a comedic art heist caper film, while BUFF honors special guest and indie horror stalwart Larry Fessenden with a special presentation of his cult classic Wendigo, which will be screened in a glorious 35 mm print.

Featuring a selection of 35 mm prints of films restored by the UCLA Film & Television Archive.

The IMAX people eventually lost interest in the idea, and «Night Music» was shown instead in 16 mm prints, drastically reduced from the large - gauge film stock.

Also added: In Honor of Dan Ireland, a tribute to the SIFF co-founder with film clips, trailers, short films, and a screening of one of Dan Ireland's favorite films from a rare 35 mm CinemaScope collector's print.

«Easily Woo's best film and just as easily the best action film of the nineties, Woo perfected a cinematic alchemy» — BH on the rare unspooling of the 35 mm print (TIFF Bell Lightbox, July 29th)

To celebrate the Blu - ray and digital re-releases of Happy Together and Fallen Angels, courtesy of Kino Lorber, 35 mm prints of these two films will be screened back - to - back in downtown Manhattan on Thursday July 22 at the 92Y Tribeca.

However, given the reactions of my friends who have properly seen the film (I have not seen the film, but UCLA has a 35 mm print that they do screen occasionally for classes), Sorcerer got a bum rap and deserves a reassessment.

We were the first audience ever to watch a brand new 35 mm print of Hayao Miyazaki's 1992 film Porco Rosso.

Mastered from the original 35 mm camera negative, it's almost flawless (with a touch of fluctuating pixels in the neutral skies) and so clean that the hard vertical scratches 65 minutes into the film — the only blemishes on the print — are jarring.

With the miraculous discover of a 16 mm print in Argentina, the Murnau Institute has been able to finally restore the film to its almost complete form (it is still missing a couple of minutes of footage).

12 or so «old» films, in the order in which I saw them: Night and the City (UK version, Jules Dassin, 1950): on 35 mm nitrate (May, Rochester) Until They Get Me (Frank Borzage, 1917): an incredibly advanced Western, on 35 mm (June, Bologna); Secrets (Frank Borzage, 1924) was also notable, DCP West Indies (Med Hondo, 1979): 35 mm, anamorphic color print (Bologna) Furcht (Fear, Robert Wiene, 1917): German «impressionism» before «expressionism,» 35 mm (Bologna) Mit hem är Copacabana (My Home is Copacabana, Arne Sucksdorff, 1965): A Swedish documentarian meets Brazilian Cinema Novo, DCP (July, Bologna) El rebozo de Soledad (Soledad's Shawl, Roberto Gavaldón, 1952), DCP (Bologna) Where would the Mexican Cine de Oro have been without Gabriel Figueroa's cinematography?

This box set version also contains, within its plush exterior, a set of eight limited edition card prints, an exclusive Senitype still with 35 mm film frame, a collection of six black - and - white screen - captures, and a 27» x40» theatrical poster.

Shima no musume (The Island Girl, Nomura Hotei, 1933): on 35 mm, with music and effects track (October, Pordenone); a rare example of another Shochiku master silent film director Fièvre (Louis Delluc, 1921): DCP (Pordenone) Nebulvalyi Pokhid (An Unprecedented Campaign, Mikhail Kaufman, 1931): DCP (Pordenone) Seven Footprints to Satan (Benjamin Christensen, 1929): Hilarious / scary, reflexive, silent spoof on the «Old Dark House» genre, with title cards by Cornell Woolrich: DCP (Pordenone) Morænen (The House of Shadows, Anders Wilhelm Sandberg, 1924): on a beautiful, subtly shaded 35 mm print (Pordenone)

Part of the Academy's Marc Davis Celebration of Animation, the event will include a screening of the 1991 film from a pristine 70 mm original theatrical release print from the Academy Film Archive.

Oscar - winning film editor and longtime Martin Scorsese collaborator Thelma Schoonmaker, who has been a frequent special guest at Seattle screenings over the past couple of decades, is coming to the Seattle Art Museum to introduce a newly restored 35 mm print of The Life and Death of Colonel Blimp, directed by Michael Powell (her late husband) and Emeric Pressburger, and Peeping Tom, Powell's 1960 psychodrama of sex, violence, and the cinema.

Having first experienced the film on television, via a worn 16 mm TV print, Warner's DVD presentation is a remarkable revelation: exquisite colour shading, atmospheric and often poetic cinematography, and dreamy close - ups of the emotionally strained characters.

The Grand Illusion kicks off Halloween movie season in style with a 35 mm print of John Carpenter's 1994 classic, the director's last indisputably great film.

, a feature - length documentary on the entire series (from the memorable Second Sight Films release of the film); In Search of the Hotel Broslin, a 2001 featurette with Henenlotter and rapper R.A. «The Rugged Man» Thornburn; a six - minute outtakes reel in HD from a 2K scan of a 16 mm print; The Frisson of Fission: Basket Case, Conjoined Twins, and «Freaks» in Cinema, a new video essay by Travis Crawford discussing the history of films featuring «freaks of nature»; a set of image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); a promo gallery featuring 3 theatrical trailers (all in HD from 4K sources), a TV spot (also in HD from a 4K source), and 2 radio spots; The Slash of the Knife, a rarely seen short film made by Henenlotter prior to Basket Case; an audio commentary on The Slash of the Knife by Henenlotter and Mike Bencivenga; outtakes and an image gallery from The Slash of the Knife; Belial's Dream, an animated short story by filmmaker Robert Morgan; and last but not least, a 28 - page insert booklet featuring the essay «Case History» by Michael Gingold, «Cham - pain in the Park!»

Friedkin will be signing copies of his memoir «The Friedkin Connection,» and then will screen his film Sorcerer on a classic 35 mm print (straight from the Paramount Pictures Archives).