Sentences with phrase «widescreen images of»

Certainly, the film features some of the most breathtaking widescreen images of the desert ever photographed (by cinematographer Freddie Young); Maurice Jarre's famous score is appropriately grandiose; and the pushing - four - hours run time more than satisfies any notions of «epic» length.

Closer in metaphysical spirit to Kiarostami than to Leone, it lingers thanks to beautifully lit widescreen images of lived - in faces and barren, beautiful landscapes.

Not exact matches

Looking at it from the perspective of an upgrade to the original PAN & SCAN release, this is the exact opposite; a widescreen 2.35:1 anamorphically enhanced image that looks incredible.

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.

Batman appears in both an aspect ratio of approximately 1.85:1 and in a fullscreen version on this double - sided, single - layered DVD; the widescreen image has been enhanced for 16X9 televisions.

Note: Since this film was made before widescreen was commonly used, you will see black bars on the left and right side of the image, if viewing on a 16x9 TV or video projector.

It's undoubtedly a handsome - looking picture, slow of pace, with beautifully, even stunningly composed widescreen images from cinematographer Masanobu Takayanagi and a sinuous score from Max Richter.

Mission: Impossible appears in both an aspect ratio of approximately 2.35:1 and in a fullscreen version on this single - sided, double - layered DVD; the widescreen image has not been enhanced for 16X9 televisions.

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 2.35:1 anamorphic widescreen with Dolby Digital 5.1 audio, The Mothman Prophecies looks splendid — those outdoor close - ups of Alan Bates are as intricately detailed as I've ever seen a DVD image.

DVD Extras The real reason to get hold of Halloween - 25th Anniversary Edition is the new high definition digital transfer, which offers superb sound and an enhanced widescreen image (2.35:1), but there is also an exhaustive (and at times exhausting) range of extras on this two - DVD set.

Though the film was projected at IMAX venues in 3 - D, it's offered in 2 - D only for the home viewing audience, and the 1.78:1 anamorphic widescreen image is consistently good in the face of a mélange of source media — note that the longer version relies more heavily on video - based footage originated by the MIR's electronic eyes.

Earning its THX certification, The Village's 1.84:1 anamorphic widescreen transfer * invites adjectives like sumptuous and filmlike, and better yet, the studio seems to have curbed its recent habit of overfiltering the image.

Cabin Fever itself quickly subverts expectations for something grainy and incompetent — the film so belies its low - budget origins (and influences) that it may have distorted my perception of the 2.35:1 anamorphic widescreen image, but I believe it to be above reproach, with striking contrast, hairline detail, and well - modulated saturation.

The overhauled image, now in THX - approved 1.85:1 anamorphic widescreen (fullscreen alternative sold separately), looks very nice, its clarity and strong shadow detail betraying every last weakness of the production's cheap design.

Meanwhile, the quality of the 1.85:1 anamorphic widescreen image is transcendent.

Warner's DVD version of McCabe & Mrs. Miller is unfortunately something of a disappointment in the technical department: the 2.35:1 anamorphic widescreen image is too black for a film that was pre-exposed in order to decrease contrast, while digital video noise reduction looks like it was rather severely applied to the intentionally gritty images, resulting in a general lack of detail.

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 2.33:1 anamorphic widescreen transfer is breathtaking but for the occasional presence of dark blue in areas of the image that should be pitch black.

The Warner disc sports a gob - smacking 2.35:1 anamorphic widescreen transfer whose image is only a little compromised by over-sharpening and the blooming of whites, the latter problem limited to transitional shots from live - action to animation.

I've experienced only a few such spontaneous ovations here over the years, during Holy Motors (the out - of - nowhere musical number performed on multiple accordions), Goodbye To Language (when Godard «breaks» 3 - D by diverging the left - and right - eye images), and Mommy (a relieved reaction to the 1:1 aspect ratio going widescreen after about 90 claustrophobic minutes).

Director Carpenter and Cinematographer Cundey maintained an exceptional professional relationship, based to some degree on a mutual respect for composing high - quality images in the natural scope that widescreen formats embrace; perhaps more so than in «Halloween» does Carpenter's visual acumen blossom in capturing the beauty of a remote coastal town, and the constant sense of isolation via extraordinary landscapes, vistas, and shimmering ocean shots.

Which is not to suggest that «Tale of Tales» — sumptuously outfitted by production designer Dimitri Capuani and filmed in lustrous widescreen images by cinematographer Peter Suschitzky — is without its visual wonders.

While all films in the set ring with Hammer's trademark attention to colour process, offering bloody reds and fleshy fleshtones, Horror of Dracula's 1.77:1 anamorphic widescreen image (recropped from its original 1.66:1 aspect ratio) is sadly jumping with grain so dense it's at times almost misty.

Boasting may not be the appropriate word: the 1.85:1 anamorphic widescreen image is of poor contrast and shadow detail, and thanks to a fairly consistent ghosting effect, many shots appear to have been sourced from VHS.

New high - definition digital transfer, supervised by director of photography Raoul Coutard, with restored image and sound and enhanced for widescreen televisions

The most complete cut of Abel Gance's visionary silent epic, Kevin Brownlow's 2000 restoration, gets a HiDef bump in a generous three - disc set to complement the movie's sprawl, and the extra resolution and image stabilization really make a difference, especially when the action breaks into an experimental widescreen triptych.

Still, it's evident that some amount of effort went into this restoration / remaster, as the 2.35:1, 1080p widescreen image looks... appropriate.

Camera (Technicolor, Panavision widescreen, Arri Alexa digital), Trent Opaloch; editors, Jeffrey Ford, Matthew Schmidt; music, Henry Jackman; music supervisor, Dave Jordan; production designer, Owen Paterson; supervising art director, Greg Berry; art directors, David E. Scott, Greg Hooper; set decorator, Ronald R. Reiss; costume designer, Judianna Makovsky; sound (Dolby Atmos / Dolby Digital), Manfred Banach; supervising sound editors, Shannon Mills, Daniel Laurie; sound designers, David C. Hughes, Nia Hansen; re-recording mixers, Tom Johnson, Juan Peralta; visual effects supervisor, Dan Deleeuw; head of visual development, Ryan Meinerding; visual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halley Finn.

It's an effectively nasty piece of work, well - acted and filmed with a blue - gray pallor that sometimes made the DVD image (2.35:1 anamorphic widescreen) hard to make out on my portable player but is more than apt under the circumstances.

Certainly the central image of the train is a fitting one for his flat, widescreen visual style, and the Indian setting allows for great use of color, so if nothing else, it looks freaking gorgeous.

Jaws appears in an aspect ratio of approximately 2.35:1 on this single - sided, double - layered DVD; the widescreen image has been enhanced for 16X9 televisions.

Cliffhanger appears in an aspect ratio of approximately 2.35:1 on this single - sided, double - layered DVD; the widescreen image has been enhanced for 16X9 televisions.

Club Dread appears in both an aspect ratio of approximately 2.35:1 and in a fullscreen version on this double - sided, single - layered DVD; the widescreen image has been enhanced for 16X9 televisions.

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.

For the DVD, Image used a decent widescreen print that has a few wear marks, and some static patterns in some daylight shots, during the couple's tour of gorgeous Rome.

The anamorphic widescreen CinemaScope ratio was invented as a part of an industry - wide response to the rise of television, a way of asserting the superiority of the filmic image to the televisual one, on the literal logic that bigger (i.e., wider) is better.

THE DVD Blue Underground reissues Zombie on DVD in an apparently definitive 2.35:1 anamorphic widescreen presentation; this is one of those transfers that won't be appreciated by newcomers to the film, but anybody who's had previous experience with Zombie on home video will marvel at the clarity of the image.

THE DVD Fox ushers The Ringer to DVD in an unofficial «Special Edition» featuring 2.35:1 anamorphic widescreen and fullscreen transfers on opposite sides of a flipper, the crisp, clear image matched by full DD 5.1 audio.

First things first, the 2.35:1 anamorphic widescreen transfer is soft and lacking in deep blacks, giving off the impression of a LaserDisc image rather than a DVD circa 2003.

Start with a 2.35:1 anamorphic widescreen image, downconverted from HiDef, that reproduces the blacks as pitch and for the most part downplays the softness and mutedness that mars Eastman productions of the era whilst stabilizing the harsh grain common to two - perf Techniscope prints.

THE DVDs by Bill Chambers Fox issues The Clearing on DVD in a nice but erratic 1.85:1 anamorphic widescreen transfer: Although I wouldn't have minded the shifts in definition so much if they were more aesthetically grounded, sometimes the crispness of the image varies between consecutive shots.

Its anamorphic widescreen transfer comes close to preserving the original Super Panavision70 aspect ratio (about 2:1 vs. this presentation's 2.20:1) while presenting colours with pleasing warmth and images with a wondrous clarity largely free of grain and edge - enhancement.

The same could be said of the display screen that acts as the gauges, although the ample space above and below its letterbox - like image makes it look like a widescreen TV with the wrong aspect ratio selected.

On the other hand, for watching 16:9 widescreen videos, the iPad image height is only 4.4 inches, which is smaller than the Android height of 4.8 inches for 16:9 widescreen videos.

All of the video is at a 4:3 aspect ratio video, which is a departure from the widescreen image from other Nest cameras, but it makes sense on a doorstep where image height is more important than width.

You can crop images to standard, rectangular widescreen but, of course, what results is rather on the small side, though perfectly viewable from up to a few metres away.

Despite the resolution being lower than a lot of other widescreen displays on the market, there's no denying that the LG 34UC79G - B pulls off a crisp image nonetheless — and with stunning color accuracy at that.