Sentences with phrase «transfer of the first film»

As far as I'm concerned, it matches the highly - praised transfer of the first film.

Not exact matches

There is some very good news for Gooners if the latest Arsenal transfer rumour turns out to be true, and boy do we need it after the horror film that was our first home game of the Premier League season.

Criterion's DVD of Days of Heaven presents a luminous enhanced transfer of a film that elicited oohs and ahhs from audiences when first shown in 70 mm; we can imagine this title as a highly - desirable candidate for Hi - Def release.

Criterion's Blu - ray of Days of Heaven presents a luminous enhanced transfer of a film that elicited oohs and ahhs from audiences when first shown in 70 mm; it's a highly appropriate candidate for Hi - Def release.

The second film's success was perhaps even more staggering than the first: The Godfather, Pt. 2 garnered six more Oscars, including a win for Coppola in the Best Director category; Robert DeNiro won his first Academy Award in the Best Supporting Actor field; and the movie itself became the first and only sequel ever to win Best Picture honors.Next, Coppola began adapting the Joseph Conrad novel Heart of Darkness, transferring its story to the heart of the Cambodian jungle at the height of the conflict in Vietnam.

First up is a watershed moment for AGFA and the culmination of years of work: a brand new digital transfer of THE ZODIAC KILLER, a film made with one goal in mind — to capture the real - life Zodiac Killer.

THE DVD The first platter of Fox's two - disc Collector's Edition reissue of The Hustler sports the film in a slick but unfortunately nonprogressive 2.35:1 anamorphic widescreen transfer.

The first platter of Fox's two - disc Collector's Edition reissue of The Hustler sports the film in a slick but unfortunately nonprogressive 2.35:1 anamorphic widescreen transfer.

Video transfer is surprisingly substandard for the first film, which shows a lot of graininess in some of the shots.

As a toddler, 20,000 Leagues Under the Sea put me to sleep even faster than Star Wars did (sorry), but I always cut the film significant slack for having suffered an amputating pan-and-scan video transfer, as this was Disney's first and ultimately one of its few CinemaScope productions.

The first platter contains the film in a beautifully - saturated 1.85:1 anamorphic widescreen transfer that comes across as warm, free of defect, and exceedingly bright.

Knowing that mastering would be the first step in the process, I reached out to the cinematographer, Vittorio Storaro, as we wanted him to be involved in a new HD transfer of the film for our release.

Anyway, as it stands it is a prime example of how pretty 4K HDR can look in a transfer and it does a good job of showing the most color range of all the first four films.

Film Movement offers Time to Die in a gorgeous 2K transfer, marking a necessary first step in releasing more of Arturo Ripstein's films on Blu - ray.

· High - definition digital transfers of the 135 - minute theatrical cut and the 150 - minute first cut of the film, supervised by Lubezki, with 5.1 surround DTS - HD Master Audio soundtracks on the Blu - rays

The first disc presents the film in a widescreen video transfer and a Dolby Surround 5.1 soundtrack and also includes the 2005 MTV Video Awards Batman spoof, but it's on the second disc where you'll find all of the goodies.

Find the film on the first disc in a 1.85:1 anamorphic widescreen transfer that adjusts every aspect of the bare - bones DVD's 4:3 letterbox presentation — hues, saturation, contrast, framing — for the better.

The supplements are far less lavish that the previous Columbia noir collection, limited to brief interview featurettes with Martin Scorsese (on The Brothers Rico), director Christopher Nolan and actress Emily Mortimer, but the star attractions are the five films making their DVD debuts in superb transfers, all of them in their correct aspect ratio for the first time on home video.

The first thing one sees in Warner Archive's transfer of the film are scratches that precede the first titles, and the image hardly improves from there.

Where so many bigger companies have ignored major art - house releases (or even older Hollywood releases) for careful, meticulous restoration, Criterion has always dived head first and taken their job very seriously, packaging astounding A / V transfers with truly revelatory extras and consistently thought - provoking critical essays on each of their films.

It provides a 2.20:1 transfer derived from restored 65 mm elements whose image looks vibrant and beautifully detailed throughout, regardless of whether it's racing footage or interiors, and the various European locations look like picture postcards, particularly the scenes of Monaco shown throughout the film's first racing sequences.

The screening at TRANSFER Gallery is based on the first two episodes of a four - part series of thirty - minute films created by art theorist John Berger and produced by Mike Dibb.

Duncan Campbell, Bernadette, 2008, film still, 16 mm film transferred to digital video, 38» 10», Courtesy of the artist and Rodeo, Istanbul / London IMMA presents the first major exhibition in Dublin by Duncan Campbell, recicipient of the 2014 Turner Prize.

Julian Rosefeldt's four - screen installation (Super 16 - mm film transferred to DVD) The Ship of Fools, 2007, at first seems a kind of study in art history or visual culture.

Conrad's previous work, «The Flicker,» was a very careful consideration or orchestration of black and white frames, first on paper, then transferred to a strip of film, which was then projected.

He showed the first version of it in 2012 at Oliver Francis Gallery on a loop as part of It's Just Meant to Be — his only solo exhibition in Dallas to date — but he's hoping to transfer it to film so he can submit it to festivals.