That often means balancing out light and dark areas or the range of colours, and not losing, for example,
shadow detail because of a bright sky.
Not exact matches
I actually thought from your first picture that you were wearing a cardigan over the dress
because of the way the
shadows on the steps look, but that's an awesome
detail on the dress itself.
Letterboxed at 2.37:1 and enhanced for 16x9 displays, the film looks passable on the format but,
because of the feature's beefy 135 - minute running time, some
detail (of both the
shadow and fine varieties) has obviously been sacrificed to accommodate a DTS option.
The film was shot on three - perf 35 mm stock to allow for smaller magazines and therefore lighter cameras / increased mobility; according to Greg Carson's worthwhile supplemental featurette, «Obtaining Cover: Inside Code 46», director Michael Winterbottom purposely avoided digital video
because he wanted the crispness of celluloid, and yet there is often a PAL - like quality to the image here that considerably softens definition and
shadow detail.
It's a dark film, and the black levels and
shadow detail reflect that, the latter never being immensely impressive
because of the built - in crush.
Forza has better track and environment
detailing, with things like
shadows, trees, trackside objects, etc, yet that's a disadvantage now
because real tracks are supposed to look sterile?
I found the LG well suited to high - resolution videos and games
because it provides deep blacks and excellent
shadow detail in dark scenes.
Maybe it's
because Google's Pixel 2 XL has a superior HDR mode (which was turned on for both phones), but the Pixel 2 XL did a much better job showcasing this landmark and
details in the
shadows.