Sentences with phrase «widescreen shots»

It also has face recognition to put extra focus on those who matter and panorama function for stunning widescreen shots.

He is an artist that uses every corner of the cinematic canvas, from the soundtrack score usually composed by the director himself to those long widescreen shots that pull you into the world on screen.

On «Indiana Jones and the Kingdom of the Crystal Skull,» he does work that is very impressive, combining CGI with numerous widescreen shots.

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

Leone's liberal use of widescreen shots in conjunction with extreme close - ups gives the movie an epic quality that is matched in scope by a skeletal narrative structure that breathes with a poker - faced mood, tone, and personality.

Tap this and you can change the shooting ratio to either a 1:1 square or 16:9 widescreen shot.

Not exact matches

The HD (720p) camera shoots 150 - degree widescreen video.

The film is aping the look of documentaries, CCTV footage, etc — none of that is shot in theatrical widescreen.

The Quality The anamorphic widescreen transfer looks fantastic with some bright, vivid color (especially in the jungle of Nool) and some impressive detail, with the opening shot being one of the most realistic pieces of computer animation I've ever seen.

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

All tech and design aspects here are first - rate, notably Patrick Taylor and Kevin Hilliard's ominous score (despite an occasional excess of percussive bombast), and cinematography by Alex Disenhof («The We and I») that makes excellent use of the widescreen format, both on land (the pic was shot in Kenya) and at sea.

On a technical note, it seemed odd to me that it was shot in what appeared to be 16:9 instead of theatrical widescreen.

An early shot from ace cinematographer Robrecht Heyvaert starts with an epic desert landscape then cuts back to reveal that widescreen vista in the lens of aviator sunglasses worn by Richard (Kevin Janssens), a handsome dude exuding smugness from every pore.

Another motif of Carpenter's is to shoot the action entirely in widescreen (or occasionally anamorphic).

I, Tonya is presented in 2.40:1 widescreen and uses the AVC codec, but was shot on 35 mm to perhaps gain a little bit in the area of grittiness befitting the subject.

For many years, the TV prints of the Robe were struck from the «flat,» standard - ratio version shot simultaneously with the widescreen version.

Performances are OK, the widescreen 35 mm lensing handsome in landscape shots but otherwise uninteresting.

Coming right on the heels of Hollywood's panic over the rise of television, Miss Sadie Thompson was shot in lavish Technicolor, widescreen, and 3D.

Verbinski certainly did his western - movie homework, for outside of all the rootin» - tootin» Rube Goldbergian action scenes, the director consciously evokes John Ford with his widescreen vistas of sun - baked deserts (on - location shooting took place in Utah, Texas, and beyond), and his nod to films like The Searchers with scenes of near - helpless families under attack in the wilderness.

Vadim shoots it in earthy color and CinemaScope and the disc preserves both in an anamorphic widescreen transfer.

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).

The 2.40:1 anamorphic widescreen transfer is a disciplined rendering of volatile elements, as evidenced by the «control group» of those two or three shots that don't induce seizures.

Zanuck shot The Robe (1953) in the new widescreen format Cinemascope, and The Longest Day (1962).

THE DVD by Bill Chambers Universal releases Seabiscuit on DVD in competing widescreen and fullscreen editions; concern yourself only with the former (which we received for review), for if there's one thing you never want to do, it's watch a film shot by John Schwartzman that's been «reformatted to fit your screen.»

French filmmaker Philippe Garrel has been specializing lately in gossamer - thin portraits of failed relationships, usually shot in gorgeous widescreen monochrome.

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.

The Aspect Ratios & The Movie's Time Periods I'm the last person to fetishize aspect ratios, but Wes Anderson films are known for their distinctive widescreen look which is due to the way Anderson shoots his films, assisted by longtime DP Robert Yeomen who has worked on all of his films aside from «Fantastic Mr. Fox.»

Although this was essentially a low budget independent film, John Carpenter chose to shoot the movie in anamorphic widescreen Panavision.

D.P. Linus Sandgren shoots the many musical numbers, and numerous other scenes besides, in gorgeous widescreen long takes that privilege space and bodies in ways managed by few modern movie musicals.

THE DVD Fox releases Dying Young on DVD in a vanilla 1.85:1 anamorphic widescreen presentation long on Schumacher's over-saturated colours and short on subtlety, which is, of course, not the transfer's fault; its softness — that impression that the lens has been smeared with Vaseline, «Glamor Shots» - style — is something you can't really win by being faithful to.

MGM delivers less in its DVD release of That Championship Season, offering the picture in a non-anamorphic 1.85:1 widescreen rendition that, although surprisingly sharp, is riddled with edge enhancement and, in the night shots, a good deal of grain.

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.

His latest film, The Ornithologist (2016), is a quasi-western shot in anamorphic widescreen that follows one man's bird watching trip that takes him through the pressures of nature, mysterious cultural rites, and a bricolage of mythologies that in turn transform him.

The two also give some background info Hemmings, star Contouri (who ultimately retired from acting after a brief stay in Hollywood), the excellent locations at an artist colony and dairy refinery, plus a funny explanation about why Aussies shoot such striking widescreen films.

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.

Running time: 129 minutes Studio: Fox Home Entertainment 3 - Disc DVD Extras: Widescreen theatrical feature film, unrated director's cut, Wolverine theatrical trailer, Valkyrie, S. Darko, The Wrestler, Seth MacFarlane's Cavalcade of Cartoon Comedy, commentary by director George Tillman, Jr., screenwriters Reggie Rock Bythewood and Cheo Hodari Coker, and editor Dirk Westervelt, commentary by with Biggie's mom Voletta Wallace, and his manager Wayne Barrow, Behind the Scenes: The Making of Notorious, I Got a Story to Tell: The Lyrics of Biggie Smalls, Notorious Thugs: Casting the Film, Biggie Boot Camp, Anatomy of a B.I.G. Performance, Party & [Expletive](never before seen footage), The B.I.G. Three - Sixty, Directing the Last Moments, It Happened Right Here, The Petersen Exit, The Shooting, The Impala, The Unfortunate Violent Act, The Window, 9 Deleted Scenes, 4 extended / alternate concerts, trailers from: Secret Life of Bees, Gospel Hill and Slumdog Millionaire, digital copy.

Although an anamorphic widescreen master, some of the interview shots are squished into a square; film clips are matted from full screen sources instead of being window - boxed.

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.

Leone - style close - ups fetishise narrowed eyes under low, wide brims; horses gallop across widescreen plains in clouds of dust; a rowdy saloon falls deafeningly silent upon the entrance of a stranger; low - slung shots worship the seven walking in a line; a thrilling orchestral score features breakout horns, plucked banjo strings and hints of Elmer Bernstein's galvanising original music; and Red Harvest dons Stars»n' Stripes war paint.

«This Is VistaVision» is a cool look at the history of Paramount's groundbreaking higher - resolution filming and widescreen exhibition technology, in which Funny Face was shot, and is largely only used for effects work today.

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.

Fireproof appears in 1.85:1 anamorphic widescreen and though blandly shot on a shoestring budget, it looks rather terrific on DVD.

The Portuguese filmmaker tells us about his latest: a quasi-western shot in anamorphic widescreen following one man's bird watching trip...

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).

The 1.78:1 widescreen picture is clean and sharp, marred only by some compression ringing on text overlays and infrequent medium and long shots.

This episode is shot, often handheld, on digital video, not film like its predecessors, and home video presents it, questionably, in the less cinematic 1.78:1 widescreen aspect ratio.

For The Man From Laramie, Mann shot in the high plains and the ribbons of ridges of New Mexico, stretched far across the widescreen canvas.

It's probably Mamet's finest film as a director, his widescreen composition is wonderful — there's this one shot where Emily Mortimer's head, in profile, sits in the center of the screen while she talks and it's exceptional.

Though Wikipedia claims it was shot in 1.66:1, Warner's DVD presents America America in 1.78:1 anamorphic widescreen.

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.