Sentences with phrase «shot in that aspect ratio»

Not exact matches

With the T5i I can select to shoot in 1:1 aspect ratio on the camera.

Beautifully photographed to take full advantage of the corners of a 2:76:1 aspect ratio, often hiding key character details in the background of shots in a way that demands a second viewing, this is a gorgeous piece of filmcraft all the way around.

Director Francis Lawrence wanted these scenes to be spectacular, so he shot them using high resolution IMAX cameras in the IMAX aspect ratio.

(Is anything not shot in that wider aspect ratio these days?)

Anderson and his longtime cinematographer Robert Yeoman shot «Budapest» on 35 - millimeter film and switched aspect ratios to signal changes in time periods.

Shot in a boxy aspect ratio, in rich, complex black and white, the film isn't simply stylistically arresting, however; these first few moments find us in a quiet cloister of a Polish convent in the 1960s as a group of novice nuns silently, piously, go about restoring a statue of Christ, returning it to its plinth in the convent's snowy grounds.

Infinity War is the first major studio film to be shot in its entirety with Imax cameras expanding the aspect ratio by 26 %.

The film was shot in 2.35:1 aspect ratio, called Cinemascope.

The filmmaker changed things up a bit and shot in Super 16 mm and the 1.85 aspect ratio for his first period piece «Moonrise Kingdom» (set in the 1960s) and for his second period piece «The Grand Budapest Hotel,» Anderson is doing the same, switching things up.

And so fittingly, Anderson shoots in the old school «square» - like aspect ratio used in that era (1.33:1 or also known as 4 × 3 or the Academy ratio).

Shot in the square academy aspect ratio by cinematographer Alexander Dynan, in long, measured takes captured by a mostly stationary camera, it marks the director's first conscious effort to mimic the hushed, contemplative aesthetic of directors like Robert Bresson, Carl Theodor Dreyer and Yasujiro Ozu, as brilliantly explicated in Schrader's seminal 1972 book, «Transcendental Style in Film.»

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.

On a side note, this film seems to be plagued with poor and half - assed DVD releases, I know my early Miramax release is possibly the worst looking film I have in my collection (inexcusable for such a handsomely shot picture) and while it has been out in Canada on Blu Ray for some time, apparently that release is pretty bare bones and in the wrong aspect ratio to boot.

Oh, and it's shot in the old fashioned almost square aspect ratio.

It's pitched to perfection and shot in a claustrophobic 1:1 aspect ratio, which is occasionally opened up to evoke a rush of liberating joy.

Shot for $ 1.5 million over 30 days, Laughlin's film, while heavy on extended takes and a few awkward edits, overall looks very nice, and Elite's transfer marks the first time the film's been available with its original, evocative Technicolor - styled cinematography by Louis Horvath (who also photographed «Chandler,» and Laughlin's other directorial efforts); and in its original aspect ratio, which, in previous full screen versions, chopped Condon's second appearance as a «dead kid».

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.

It is shot more narrowly than most, employing the 1.33:1 aspect ratio that hasn't been widely used in ages.

Similar to «The Royal Tenenbaums» in that the movie is divided into chapters, Anderson goes one step further by filming each timeline in a different aspect ratio, with the 1930s portion of the story appropriately shot in the classic Hollywood standard 1.33:1 ratio.

Similarly, Kelly Reichardt's magnificent period piece Meek's Cutoff, shot in 1.33:1 aspect ratio, limits our field of vision.

For what it's worth, «Dead Like Me» retains its 1.78:1 aspect ratio on DVD in 16x9 - enhanced transfers; shot in filmic HD, it certainly looks vivacious compared to the syndicated reruns.

Its moral argument is as clear and crystalline as its images, shot by cinematographer Alexander Dynan in the nearly square academy - aspect ratio.

An «Anamorphic Test» (2:31) is a deleted scene shot in the 2.35:1 Panavision aspect ratio, which Anderson and Yeoman intended to use.

THE DVD by Bill Chambers Just about the only thing that drives me nuts about Blade II on DVD has nothing to do with the way it was mastered: The first film was in 2.35:1, while Del Toro chose to shoot the sequel at 1.85:1 — I loathe an inconsistency in aspect ratio between franchise entries (see also the Alien «Legacy» and the Halloween films).

This episode is shot, often handheld, on digital video, not film like its predecessors, and home video presents it, questionably, in the less cinematic 1.78:1 widescreen aspect ratio.

Choe and DP Zoe White shoot early scenes in a boxy aspect ratio, emphasizing the stark limitations of Nancy's life; the frame widens and brightens when Nancy meets Ellen and Leo, as her world is opened up to possibilities, both emotional and economic, she has never known.

Also, with exterior shots of San Francisco and in its environs, the films takes full advantage of its widescreen aspect ratio, with natural depth in the landscapes and buildings.

For whatever reason, the DVD does not feature the aspect ratio changes on scenes shot in IMAX.

by Bryant Frazer An Actor's Revenge, director Kon Ichikawa's colourful melodrama depicting an elaborate revenge plot by a Japanese onnagata — a kabuki actor trained to play exclusively female roles — begins, appropriately enough, in the Ichimura Theater, where the very first shot illustrates that a panoramic aspect ratio is a perfect match for the wide proscenium.

Shooting in a 4:3 aspect ratio (apparently for practical reasons), Oram's direction is assured throughout, shifting seamlessly between genuinely shocking moments, gross - out comedy (there are certainly more prosthetic penises on display than in your average humans - behaving - like - apes movie) and surprising moments of tenderness.

The weird aspect ratio points to a 65 mm source, but that isn't precisely the case: the picture was shot with the Sony F65 CineAlta, a 4K camera with a Super35 sensor and a base AR of 1.9:1, which is what Tomorrowland was projected at in IMAX.

Underworld was shot on 35 mm film, so Sony presents it here in a full 4K scan in the original 2.39:1 theatrical aspect ratio, and with a new High Dynamic Range color timing pass.

How strange is it, then, that both 4 Months, 3 Weeks, and 2 Days and Beyond the Hills are shot in a widescreen aspect ratio — the 2.35:1 often associated with the grand, expansive CinemaScope Hollywood epics of the 1950s?

Presented in a 2:35:1 aspect ratio and armed with a decent English DTS - HD Master Audio trackwhich can be viewed with Italian or English subtitles / dubs, the film — having been shot on location — is pretty much as good as it gets.

Beautifully captured on a flat aspect ratio with a fine layer of grain, PTA has crafted a authentic time period that looks like it could have been shot in the 1970's, as oppose to so many productions that rely solely on wardrobe or a punchy 70s soundtrack to sell the period.

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.

In addition, the show's first two seasons were shot in 4:3 aspect ratios, meaning that most TVs will have black bars on the left and right of the screen for those showIn addition, the show's first two seasons were shot in 4:3 aspect ratios, meaning that most TVs will have black bars on the left and right of the screen for those showin 4:3 aspect ratios, meaning that most TVs will have black bars on the left and right of the screen for those shows.

Shot black & white in the 1.33:1 aspect ratio on 16 mm and running just 70 minutes with credits, Following has a distinct student film feel, but it also manages to be an arresting, fully realized tale loaded with promise.

Though it is shot in the wider (and increasingly more common) of the two aspect ratios used in cinema today, Life doesn't entirely shake a made - for - TV feel.

The film is shot in a 4:3 aspect ratio, making every image feel as though it popped out of a Polaroid camera.

Marsh shoots this in widescreen Super35, but he doesn't employ the wide aspect ratio to expand the canvas.

Although it was produced exclusively for the home market, Joseph: King of Dreams was shot in a 1.85:1 aspect ratio, nicely preserved on the disc in an anamorphic transfer.

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.

In addition, if you want to shoot anything at a higher resolution than 2.1 - megapixel, you'll be stuck with a 4:3, boxy aspect ratio.

Hijinx appears to have had no access to high - quality assets, so clumsy upscaling has been performed on the original videos, and in the process the aspect ratio has been shot to hell - expanded sideways in order to fill the 16:9 screen.

While movies shot in Scope (2.35:1) will still display with black bars, they're not nearly as all - encompassing as when watching the same movies on an iPad with its 4:3 aspect ratio.

Also the camera shoots in 12MP resolution with an aspect ratio of 16:9.

To fully utilise the sensor, you have to shoot in 4:3 aspect ratio.

It shoots at a maximum resolution of 5248 x 3936 pixels (20.7 MP, 4:3 aspect ratio) in manual mode, or 3264 x 2448 pixels (8MP, 4:3 aspect ratio, defaults to 3264 x 2160 pixels 16:9) in Superior Auto.

On the flip side, you'll have a lot of empty space top and bottom when watching movies in landscape - especially if they are shot in the cinematic 21:9 aspect ratio.