Sentences with word «telecine»

Other than a bit of telecine wobble at the outset, Fox's hi - def Blu - ray transfer of The Edge is very impressive.

Besides both transfers exhibit a bit of evident telecine wobble.

The sample below is for Telecine Assistant Cover Letter.

There's some film grain, but no noticeable telecine artefacts; the source material used is fairly clean, too, aside from some minor scratching here and there.

Where the original was on an older telecine, the new transfer was done on a High Definition Spirit Datacine, as used for Saving Private Ryan, to achieve a higher level of detail, richness of color, dynamic contrast and the ability to present the movie as originally intended.

If this is a brand new transfer we'd be very surprised - modern telecine is capable of far, far better than this, and despite the fact that it's 16:9 enhanced on DVD, it seems unlikely that this is the same video transfer that region 1 customers get.

The only significant flaw is a persistent telecine wobble noticeable mostly during static shots.

I guess this is where a true digital source will look better than a lacklustre telecine process.

One of Warner's very earliest DVD releases and never subjected to a remaster, Jeremiah Johnson looks fairly like shit in this recycled 2.35:1, 16x9 - compatible presentation — if bright, scrubbed shit thanks to a certain telecine - proof professionalism.

This is a nimble telecine effort — save banding during the exceptional opening titles — that provides richer contrast and shadow detail than the DVD transfers of Shyamalan's previous movies.

All five DVDs have anamorphically enhanced presentations and their combinations of stills from various sources, rough digital video and analog video (including from videotape) can show flaws including video noise, video banding, telecine flicker, tape scratching, cross color, faded color and tape damage.

Well, the team at ILM found a «high - quality telecine transfer» of The Shining, scanned it into their computers as a reference, and began to digitally recreate the locations needed for the film.

Production support came from The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts; telecine services were donated by Film Technology, Inc..

If you are searching for an experienced, knowledgeable and dedicated Telecine and coloring professional who will generate significant insight in quality service and support, and develop and oversee successful project initiatives, please contact me to arrange an interview.

With strong telecine skills and significant insight into advanced laydown, and quicktimes expertise, I feel that I am a knowledgeable and qualified candidate.

My significant exposure to all aspects of Telecine Assistance, along with related Quality Assurance and coloring execution successes, have equipped me with the critical, technical and creative abilities enabling me to thrive in the fast - paced environment at your company.

In several shots from 1974 that were filmed with a stationary camera, and in at least one shot from 1980, the picture develops a mild but unmistakable case of vertical jitters, with the image shifting up and down a single pixel or two from frame to frame, indicating some minor registration problems during the film - scanning or telecine process.

Telecine Assistant Colorist.......

No immediate signs of digital enhancements are present, however, minor damage is leftover, including mild speckling and telecine wobble.

Broken up into 4 sub-sections, this feature looks at just what went into creating the DVD and exactly how it was done, right down to the telecine process.

To cap it off, there is a telecine gallery using the multiangle feature to show the differences in sound and vision for three select scenes; Outside Gluttony, Inside Gluttony & Coda.

But while the quest for technical perfection implicit in the Superbit manifesto may at first seem anathema to the film's Seventies mystique, The Brown Bunny's vintage crudity was so premeditated as to necessitate a corresponding amount of TLC in the telecine suite.

Given that the whole movie was edited in the digital domain, the culprit here is the telecine not being up to the standard that we're used to with the exceptional transfers we've been spoiled with.

THE DVDs Released on DVD a few years back by DreamWorks in an «Awards Edition» now bundled as part of Paramount's «Best Picture: Academy Award Winners Collection,» American Beauty is crying out for a fresh run through the telecine (there's a hair in a couple of frames), its 2.37:1 anamorphic widescreen transfer conspicuously struck back in the nascence of the format.

While the lighting isn't well - matched and the shadow detail is soft, I'm apt to pin these things on Stevens before the telecine operators.

The telecine operators seem to have erred on the side of «creamy,» bringing the clarity to a similar softness that honours Herzog's idea of a Frederich - like «wanderer in the clouds.»

Disregarding some DVNR that was obviously applied at the mastering as opposed to the telecine stage (lest viewers confuse 35 mm film grain for signal interference, I guess), the image is well - defined and sports impressive dynamic range.

The studio's «scope titles are usually plagued by edge enhancement, but this one emerges from the telecine suite with nary a hint of it.

There's enough blame to go around is what I'm saying, and I wouldn't be surprised if ol' Grant gave the telecine a go.

(One wonders if something about the animation process favoured by the Japanese industry — a combination of traditional cel animation and CGI — obliges a standard amount of artificial sharpening during the telecine process.)

The film is presented in a 1.85:1 anamorphic widescreen transfer that has barely a strike against it; that the black level of the image is more like dark - brown level seems an intentional evocation of the period rather than some telecine gaffe.

THE DVD by Bill Chambers Presented in a 1.85:1 anamorphic widescreen transfer, Heist looks soft and muted on DVD and there are no instances of deep black, but that's because Robert Elswit shot Heist with a subdued, low - contrast palette as befitting Mamet's utilitarian visual sense; through no fault of the telecine operators or compressionists does the image disappoint.

Worse, to make up for that, the telecine operators have liberally applied edge - enhancement, further obscuring fine detail and giving a jagged appearance to diagonal lines.

The image is admittedly beautiful despite not expanding any horizons, honouring Green's colour chiaroscuro, but whether or not Unforgiven begged another run through the telecine, it deserved one.

The biggest improvement the 2.40:1, 1080p transfer boasts is in the area of depth — this is a multifaceted image that truly feels «projected» as you're watching it, though if I'm being scrupulous, flesh tones have that cake - frosting appearance that plagues a lot of contemporaneous Sony output, so maybe I Know What You Did Last Summer could've benefited from a more current pass through the telecine.

While the telecine scan appears to be the same as the previous release (which is fine, as it is excellent, with film grain happily preserved), the color timing of the new release has swung dramatically back in the direction of the original release prints.

That would seem to be a telecine issue for which Warner can be faulted; otherwise Frantic is presented in terms that are entirely faithful to the film's original appearance, one that evokes a rainy, colorless European day.

The restored version has had another pass through the telecine since its initial DVD release in 2000; presented in 1.85:1 anamorphic widescreen *, it looks noticeably clearer and bolder here than ever before.

Shot in 35 mm per director Wally Pfister's fanatical devotion to celluloid, the picture nevertheless shows signs of having been manipulated in the telecine suite, though thankfully to a lesser, subtler extent than the Pfister - shot The Dark Knight.

I'm not certain if this is an offense to be placed at the feet of the telecine operators, Bluth, or Fox, but it results in that cheap animation sweatshop patina familiar from decades of beloved but terrible holiday cartoons.