Sentences with phrase «widescreen framing»

Nonetheless, based on the questionable widescreen framing, a definitive statement on the film's proper aspect ratio can not be made at this time.

The 2.35:1 widescreen framing does allow one plenty of opportunities to admire the impressive world realized on the tiny island country of Malta.

Corman's widescreen framing, the blazing Technicolor photography, and the effectively maximized production values created a convincing, if twisted, world.

Dappled in retro hues, the widescreen frame is filled with painterly images that richly evoke a time and place, as well as capturing the mood of the melancholy drama.

This being a Leone film, though, the proceedings are infused with a luridness that might best be called «Italian»: The bangs are big, the score (one of Ennio Morricone's most beautiful) is twangy, and the faces are craggy and huge, filling the widescreen frame completely.

When the sounds are revealed, the anamorphic widescreen frame takes on an expansive but claustrophobic quality thanks, in part, to Spielberg's deep focus compositions.

Making his feature debut, director Richard Wong shot on digital video but transferred the final product to a 2.35:1 widescreen frame, and he uses it with amazing finesse, emphasizing wide, empty spaces and dramatic positioning within.

As opposed to the frantic handheld camerawork of Shiri, JSA makes full use of its widescreen frame (it was the first Korean film to use Super-35, the Hollywood big - budget standard), to create more deep - focus static compositions.

VIDEO AND AUDIO The Rocketeer is nicely photographed and makes fine use of the 2.20:1 widescreen frame (the packaging and other reviews claim it's 2.35:1, but it's not).

The dynamic duo also do a tremendous job utilizing every inch of the widescreen frame to tell the story, with sweeping vistas and establishing shots giving the actors room to play.

The film makes good use of the 2.35:1 widescreen frame, so if you somehow happen to mistakenly buy the fullscreen version, swallow your pride and do an exchange.

They compose the 2.40:1 widescreen frame most tastefully: with sunny shots of scenic locales, sumptuous costumes, and grand old cars.

Curtis confesses that he had already shot multiple establishing shots in «scope before becoming insecure about his ability to fill the widescreen frame.

Viewsonic is getting into the digital photo frame business and the first digital frames to launch will include an 8 - inch widescreen frame with an 800x480 screen resolution that displays popular movie formats, has an integrated speaker for MP3 sounds and a remote control at a price under $ 200.

Not exact matches

Paul Yee's vivid widescreen cinematography allows for out - of - focus backgrounds and master - shot framing that highlight Toni's loneliness and introspection.

Seven makes its Blu - ray debut from Kino Lorber's Studio Classics line in an AVC encoded 1080p high definition transfer framed at 1.78.1 widescreen on a 25 GB disc.

There's widescreen, a higher resolution and undoubtedly a better frame rate than the original titles - and that's the best you can expect without stretching to be more of a remake than a straight port.

Human Nature is presented in 1.85:1 anamorphic widescreen and fullscreen versions on the same side of a dual - layer disc; compositionally, it's a toss - up between the two transfers, since the latter opens up the bottom of the frame whilst cropping the vertical sides.

Those like me accustomed to seeing the Indiana Jones films in the wonder of degraded pan-and-scan videocassettes should rejoice at the sight of these DVDs, which offer higher resolution and preserve the considerable frame width in anamorphic widescreen transfers nearer to 2.35:1 than the 2.20:1 aspect ratios widely cited.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

Presented in Dolby Digital with Widescreen 2.39:1 aspect ratio, Oscar Faura's handsomely photographed frames generally capture the sense of war torn England as a prolonged race against the clock transpires at Bletchley Park.

A two - minute, full - frame promotional featurette, theatrical trailer (widescreen though unscrubbed), four full - frame TV spots, and trailers for the excrescent The Brothers McMullen, Drive Me Crazy, Picture Perfect, and Simply Irresistible round out the deservedly sparse presentation.

THE DVD The kids division of MGM presents It's a Very Merry Muppet Christmas Movie in a full - frame «Special Edition» presentation all the more puzzling for the fact that a 1.85:1 anamorphic widescreen transfer was prepared for the film's R2 release.

Both films are presented on DVD in standard definition with a 1.66:1 full frame (original Highways) and an anamorphically enhanced 1.78:1 widescreen aspect ratio (revisited) and with lossy Dolby Digital 2.0 Stereo audio tracks.

Antal uses the widescreen canvas to good effect, framing windows within windows to emphasize multiple points of view (indeed, conflicting principles are what eventually set these men at one another's throats) and favouring a steady yet highly mobile camera that's mindful of spatial dynamics when roaming off to follow someone, underscoring the urgency within a scene as differing agendas unfold in the foreground and background.

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.

With its carefully framed widescreen shots and understated soundtrack music it is at times perhaps a bit too tasteful for its own good.

THE DVD Through Subversive Cinema, Absurda makes Eraserhead available for the first time outside of Lynch's website in a stunning 1.85:1 anamorphic widescreen transfer sourced from 2003's frame - by - frame restoration.

Framing the film in its 1.85:1 widescreen theatrical aspect ratio (as opposed to the DVD's 1.33:1 open matte), New York Stories» picture is extremely sharp, clean, and detailed.

This is Fleischer's first film for Fox and he meets the house CinemaScope style — handsome, roomy sets, strong color, open spaces and long, fluid takes (the better to drink in the widescreen images)-- with careful staging and frames filled with little dramas, but he also puts an edge to the stories that play out in the glossy spaces.

Abandoning the optional full - frame transfer of the previous disc, the SE presents the film in 2.35:1 anamorphic widescreen and the quality of the image dazzles.

The widescreen presentation shares space with a full - frame alternative that, to my eye, boasts slightly less fine detail.

Presented in either widescreen (2.35:1 aspect ratio) or full frame versions, the disc packs along two audio commentaries (one by stars Jodie Foster and Abigail Breslin, and the other by directors Mark Levin and Jennifer Flackett), three featurettes (Nim's Friends, Abigail's Journey and Working on Water) and deleted scenes (where you'll meet some of Nim's imaginary friends).

Blue Valentine looks great in the DVD's anamorphic widescreen transfer, which the frames the film in atypical 1.66:1.

Offered on one platter in 1.85:1 and full - frame versions, the widescreen video transfer, enhanced for 16x9 displays, exhibits a certain degree of grain endemic from the low - budget source material, but it does offer considerably bright flesh tones and vibrant colour depth.

Oliver Stone's W. is inaugurated on DVD (full frame or widescreen) and Blu - ray (full frame and widescreen), with the following bonus materials: deleted scenes, an audio commentary by director Oliver Stone, the original theatrical trailer and featurettes (Dangerous Dynasty: The Bush Presidency and No Stranger to Controversy: Oliver Stone's George W. Bush).

The 1.80:1 anamorphic widescreen presentation exhibits some combing, though it's not especially pronounced unless you step through the film frame - by - frame and no other authoring artifacts are detectable.

Four versions of the film cohabit a dual - layer platter: 1.85:1 anamorphic widescreen editions of the unrated and R - rated Storytelling, plus two full - frame (unmatted) editions of the same.

There are interesting side - by - side storyboard / finished scene comparisons for the film's more visually complex sequences; a selection of rather understandably deleted scenes that can be viewed with commentary by director and producer as well as within the context of the film (albeit in rather cumbersome fashion); a largely useless montage of still photos from the production cut to a cue of John Murphy's score; the usual cast and crew filmographies and production notes; plus a full - frame version of the film to go with the nicely transferred anamorphic widescreen one.

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

The DVD features both the full - frame and widescreen versions of the film.

12/7/02 Update: The Region 2 European DVD release of The Rescuers (1977) is in the widescreen format, and readers» comparisons have noted that the DVD actually presents more of the animated frame on the sides, indicating that the Fullscreen VHS release was actually Pan & Scan for The Rescuers.

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

The DVD is a flipper and it contains both the widescreen and full - frame versions of the film.

The film is being released in two separate DVD packages, one with a full - frame transfer and the other widescreen.

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

The film opens with a largely windowboxed frame that soon becomes a 2.35:1 widescreen image, enhanced for 16x9 displays.

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.

Specifications: 1.85:1 anamorphic widescreen and 1.33:1 full - frame; English 5.1 Surround; English Dolby Surround; French mono; English and French subtitles; English closed captioning.

August Rush releases on DVD and Blu - ray in both full frame and widescreen presentations.