Sentences with phrase «widescreen film formats»

Not exact matches

To really truly appreciate this classic movie it is best to see this in the «widescreen» format (Originally filmed in widescreen Cinemascope and Breathtaking Color).

Tarantino, who began the film in black and white before switching to color, plays with formats here, too; to suggest the claustrophobia of being buried, he shows The Bride inside her wooden casket, and as clods of earth rain down on the lid, he switches from widescreen to the classic 4x3 screen ratio.

Pollack talks about why he used fullscreen format on many of his past films, why widescreen is better, etc..

THE DVD One of six films that won the second round of Amazon's DVD Decision 2006, Looker debuts on the format in a handsome 2.37:1 anamorphic widescreen transfer that occasionally succumbs to pinholes and a high density of grain.

The film is presented on standard definition DVD with a 1.85:1 widescreen aspect ratio and a 2.0 lossy Dolby Digital Stereo track, both of which are up to standards with expectations of the format.

The 1:85 aspect ratio has been shaved to fit the 16 × 9 widescreen format and the mastering is weak, with unstable, noisy colors and hazy resolution, adequate for a bargain - priced film but not worthy of the beauty of John Huston's swan song.

The film over which this is heard is exhibited in both 2.35:1 anamorphic widescreen and fullscreen transfers on opposite sides of the platter; although the picture was shot in Super35 (as opposed to «scope), there is more horizontal information restored and less vertical information cropped than usual for the format, making the decision to stick with letterbox a definite no - brainer.

Sony and Warner, two of the first studios to embrace the format, viewed DVD as a successor to VHS and operated under the belief that customers didn't want or need widescreen presentations of comedies and family films.

The 2.35:1 anamorphic widescreen transfer is velvety smooth and three - dimensional, the best a Mann film has yet looked on the format and in the top - tier of Columbia TriStar's efforts — it's that good.

And sate it does, at least from a technical standpoint: The 2.35:1 anamorphic widescreen transfer * is the finest for one of the film's theatrical cuts — a remarkable feat considering it's the longest instalment of the trilogy (and thus harder to squeeze onto a single - sided, dual - layered platter), though perhaps not so astonishing in light of two years having passed since The Fellowship of the Ring debuted on the format.

Both films appear in 1.78:1 widescreen, utilizing the Blu - ray format's every pixel and filling now - prevalent 16:9 screens.

The film is being released on DVD in two separate formats — full - frame and widescreen.

The disc features the IMAX presentation, with the film letterboxed in the 2.39:1 widescreen format with some scenes reverting to IMAX full frame and special effects spilling out of the frame and into the black bars.

Columbia has mastered this gorgeous, widescreen color film in their Superbit format, which uses more disc space for the picture and sound and less for the extras.

John Gibbs and Douglas Pye's chapter is also interested in widescreen stylistics as they examine the contrasting styles of Otto Preminger's CinemaScope film River of No Return (1954) and Sam Peckinpah's Junior Bonner (1972), shot in Todd - AO 35 (a Panavision - like format based on Japanese anamorphic lenses).

20th Century Fox plans to release it in all widescreen formats and Imax but also in select 70 mm film prints when it opens on Friday.

The film is presented in standard definition with a widescreen aspect ratio and a lossy English Dolby Digital 5.1 track, both of which play fine for the format.

The Man From Laramie (1955), their final collaboration, was made for Columbia and it was the first film that Mann shot in the still novel CinemaScope anamorphic widescreen format, which debuted just a couple of years earlier.

The Techniscope format was a cheap way to get a widescreen image by only using half as much film as true CinemaScope (i.e., anamorphic) requires, and this presentation seems to reflect the reduced effective resolution of the material, evincing a softness around the edges that's sometimes exacerbated by missed focus.

The groundbreaking film, a moving tale of the friendship between a boy and a giant alien robot, is featured in both widescreen and pan-and-scan formats, and looks great (of course, even better in the former format).

The film has come to DVD in two formats, one widescreen and the other full - frame.