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2Nikki - обзор Sleepy Hollow на Big Picture

Автор: BFG
Дата: 29.05.00, @09:42

*****
Картинка - 5 звезд.

This is a top flight, anamorphic transfer from the folks at Paramount, who like the other major
studios, rarely fail to put out an impressive picture when transferring a film of such recent
vintage -- and we’re all glad for that.

The image is always sharp and detailed. Lines in foreground and background are clean and
distinct. Regardless of lighting key, the image remains free of ‘grain’ and digital artifacts of any
kind. Those who know the film are aware that it’s dim, dark, and mist-filled. This type of color
desaturation, with long shadows and fog is an invite for image breakup, and no doubt you’ve
seen transfers of such films which don’t hold up too well -- particularly if you’re viewing on a
large front projection set up like we do. But Paramount has managed to give us a very clean,
solid picture. Even the largest of pale color fields set in low key lighting look fine.

It’s inappropriate to speak of bright, vivid, saturated colors when discussing Burton’s SLEEPY
HOLLOW since his cinematographer, Emmanuel Lubezki, has drained nearly all color from the
picture. Save for a handful of sequence dealing with Ichabod Crane’s childhood, and the last
few shots in the final reel, there are very few intense hues to be seen -- even blood is more of a
deep crimson/brown instead of red. What colors are present look very good. We noted no
‘smearing’ between fields. The dream sequences are abundant with colorful hues from flower
petals, and within a church we see very bright red set against glaring white. The white is bright
and clean and exhibits no ‘blooming,’ and the red remains within it’s own field.

Flesh tones usually look extremely pale -- but this was Burton and Lubezki’s intention. Blacks
are deep and solid, and shadow detail is excellent. Brightness and contrast levels are very good
and consistent throughout the presentation. The print used by Paramount to strike their
anamorphic master was pristine and free of nicks, scars, and scratches. This is a superb transfer
worthy of The BIG Picture’s highest marks.

Сообщения в ветке

2Nikki - обзор Sleepy Hollow на Big Picture -- BFG -- 29.05.00@09:42 (Чит.: 112)

Стас, позвони мне сейчас... (-) -- Шура Локшин -- 29.05.00@09:46 (Чит.: 100)

"Гогей, прверь мыло" (с) Lexx (-) :)) -- Andis -- 29.05.00@10:40 (Чит.: 115)

Не так -"Гогейчик, тебе письмо" :-) -- Kastor -- 29.05.00@10:48 (Чит.: 125)

Поздно - я сам тебе позаонил... (-) -- Шура Локшин -- 29.05.00@09:53 (Чит.: 141)

Даже вроде спросил о чем-то... (+) -- Борис -- 29.05.00@10:53 (Чит.: 102)

' *****
' Картинка - 5 звезд.
' 
' This is a top flight, anamorphic transfer from the folks at Paramount, who like the other major
' studios, rarely fail to put out an impressive picture when transferring a film of such recent
' vintage -- and we’re all glad for that. 
' 
' The image is always sharp and detailed. Lines in foreground and background are clean and
' distinct. Regardless of lighting key, the image remains free of ‘grain’ and digital artifacts of any
' kind. Those who know the film are aware that it’s dim, dark, and mist-filled. This type of color
' desaturation, with long shadows and fog is an invite for image breakup, and no doubt you’ve
' seen transfers of such films which don’t hold up too well -- particularly if you’re viewing on a
' large front projection set up like we do. But Paramount has managed to give us a very clean,
' solid picture. Even the largest of pale color fields set in low key lighting look fine.
' 
' It’s inappropriate to speak of bright, vivid, saturated colors when discussing Burton’s SLEEPY
' HOLLOW since his cinematographer, Emmanuel Lubezki, has drained nearly all color from the
' picture. Save for a handful of sequence dealing with Ichabod Crane’s childhood, and the last
' few shots in the final reel, there are very few intense hues to be seen -- even blood is more of a
' deep crimson/brown instead of red. What colors are present look very good. We noted no
' ‘smearing’ between fields. The dream sequences are abundant with colorful hues from flower
' petals, and within a church we see very bright red set against glaring white. The white is bright
' and clean and exhibits no ‘blooming,’ and the red remains within it’s own field. 
' 
' Flesh tones usually look extremely pale -- but this was Burton and Lubezki’s intention. Blacks
' are deep and solid, and shadow detail is excellent. Brightness and contrast levels are very good
' and consistent throughout the presentation. The print used by Paramount to strike their
' anamorphic master was pristine and free of nicks, scars, and scratches. This is a superb transfer
' worthy of The BIG Picture’s highest marks.

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