Sentences with phrase «mm print from»

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

New 35 mm print from the original negative in perfect shape then scanned in 2K and cleaned up.

35 mm print from Istituto Luce Cinecittà.

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.

Among the rarities NOIR CITY is presenting this year is a new 35 mm print from Universal Pictures of 1949's «The Great Gatsby,» starring Alan Ladd as F. Scott Fitzgerald's legendary hero.

Not exact matches

LX500e utilises a new print engine that doubles the maximum print speed from 25 mm per second to 51 mm per second.

I would very much enjoy commenting on this piece of news but, unfortunately, my PC has just received an impact from a 2 mm meteorite with the name HAL printed on its green, reflecting, NASA spotless surface.

As you can see on the high - heeledDIMPLE pony pumps ($ 950.00) in eye - catching black and white zebra print with contrasting yellow stripe, pointy toe design for perfect elegant silhouette, the glamorous AZA pointed - toe pumps ($ 750.00) in gold textured glittery fabric with alluring black zebra patterned lace and 50 mm heel to give simple yet clean vibe to wear with any stylish clothes from women's spring / summer 2015 closet, while to accentuate a ladylike look on the new season, what you can not miss from Jimmy Choo is also the designer LAPRIS pumps ($ 1,195.00) featuring sensual classic shape with contemporary touch on its design in shades of yellow and black gloss honeycomb structured elaphe and smooth kid leather strap in black with delicate lace up bow for a refined silhouette.

Screening in conjunction with the release and signing of American Cinematheque's Dennis Bartok's new book, A Thousand Cuts, is a rarely seen 35 mm print of the 1968 low - budget alien invasion gem GOKE: BODY SNATCHER FROM HELL.

We've already written about this before, since Christopher Nolan will be presenting a new 70 mm print, struck from the original negative, at the Cannes Film Festival this May.

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.

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.

Restoration from the original 35 mm negative, from the interpositive and the positive print.

The disc is gorgeous, mastered in 2k from a composite fine - grain 35 mm print, with excellent detail and depth of image.

Previously on DVD from Sony, it makes its Criterion debut on a 2K digital transfer from a new 35 mm fine - grain print struck from the original camera negative.

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.

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.

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.

And where Warner's too often packages a silly themed item with their sets (umbrella for Singin» in the Rain, drink coasters for Casablanca), Sony includes the only thing that matters: a still from the 70 mm print.

Gary Lockwood in a scene from «2001: A Space Odyssey,» a classic from 1968 reissued in a new 70 mm print on its 50th anniversary.

Meanwhile, in the Revivals section, 11 restorations from Martin Scorsese's Film Foundation will screen, including De Palma's «Blow Out,» Ousmane Sembene's «Black Girl,» Hou Hsiao - hsien's «The Boys from Fengkuei,» Ernst Lubitsch's «Heaven Can Wait» (in a new 35 mm print), Lino Brocka's «Insiang,» John Ford's «The Long Voyage Home,» Marcel Ophüls» «The Memory of Justice» and Luchino Visconti's «Rocco and His Brothers.»

For the first time since the original release, this 70 mm print of 2001: A Space Odyssey was struck from new printing elements made from the original camera negative.

Produced directly from the 16 mm camera reversal master, the 35 mm negative was also beginning to fade but not nearly to such an extent as the camera originals and the release prints.

The Texas Theatre presents a 35 mm print of John Carpenter's Escape from New York (1981), 7 pm October 13, at the theater.

Screened from a 35 mm print, these movies are the cinematic equivalent of wearing sunglasses, a leather jacket and chewing on a toothpick.

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.

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.

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.

There is damage and wear to the source, and a 35 mm original print from the Cinémathèque de Toulouse, but there is a great image beneath it and there is great detail in this HD Blu - ray presentation.

The Film Noir Foundation produced this restoration with UCLA Film and Television Archive, with support from the Hollywood Foreign Press, from an archival 35 mm re-release print and a complete 16 mm print.

Though the 1.85:1, 1080p transfer admirably has the look of a 35 mm print, it lacks the pinpoint sharpness that characterizes other BU titles mastered from the camera negative.

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.

This editions is mastered from a preserved, near - complete 35 mm nitrate print struck from the camera negative and preserved in the archives of EYE Film Institute in Amsterdam.

, 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).

It offers high - quality accessories for many models, all in trendy colors, made from durable printed linen and 5 mm foam for extra protection.

A Leitz enlarger for printing from 35 mm and medium - format negatives, and a Beseler enlarger for printing from 4» x5» and 8» x10» negatives are setup for large - scale projection.

Shown for the first time, this exhibition of thirty - four chromogenic prints selected from the artist's personal archive of 35 mm Ektachrome color reversal slides represents a unique document of ephemeral moments and emblematic figures shot in the 1980s and 1990s against a backdrop of seismic shifts in the art world, the emergence of multiculturalism, the second wave of AIDS activism, and incipient globalization.

Gelatin silver print, 7 3/8 x 11 inches (190 x 278 mm), printed 1985, signed, titled, dated and numbered 3 from the edition of 25 in pencil on verso of print, pencil annotated with title and edition on the back mat.

Talia Smith, Seven Times over Seven Days (Time, Distance, Me and You), inkjet print on matte paper from a 120 mm photograph, bricks, plywood, 2016.

Gelatin silver print, 4 5/8 x 6 3/8 inches (115 x 160 mm), pri... Gelatin silver print, 4 5/8 x 6 3/8 inches (115 x 160 mm), printed 1984, signed, titled, dated and numbered 2 from the edition of 20 in pencil on verso of print, pencil annotated with title and edition on the back mat; Together with [Sand Creatures: Couple] 75 GL - 25.

Gelatin silver print, 6 3/8 x 4 5/8 inches (160 x 117 mm... Gelatin silver print, 6 3/8 x 4 5/8 inches (160 x 117 mm), printed 1980, signed, titled, dated and numbered 3 from the edition of 20 in pencil on verso of print, pencil annotated with title and edition on the back mat; Together with [Sand Creatures: Man on Towel] 71 HL - 24A.

Gelatin silver print, 17 x 12 1/8 inches (427 x 308 mm), signed, titled, dated and numbered 1 from the edition of 25 in pencil on verso of print, pencil annotated in another hand with title and edition on the back mat.

Lifted from Irvin Kershner's film Eyes of Laura Mars (1978), the work's black - and - white print on the left depicts a 35 - mm camera pressed against film star Faye Dunaway's eye.

Collier's exhibition includes recent works from her ongoing series «Women Crying»; two text - based photographic works based on printed materials originally used in group - therapy and self - analysis; works from her latest series «Crying (Comic)» and «Tears (Comic)»; and a 35 mm slide projection piece «Women With Cameras (Self Portrait)».

Gelatin silver print, 22 1/4 x 18 inches (565 x 460 mm) on 20 x 24 sheet, verso signed, titled, and numbered 3 from the edition of 30.