The problem is movies. Hollywood has had many, many different aspect ratios over the years. These days the most common are 1.85:1, and 2.39:1. Depending on your favorite old movie, however, these could range from 1.37:1 ("Casablanca") all the way to 2.76:1 ("Ben-Hur," and more recently, "The Hateful Eight").
Episode 2.39 movie download in hd
Most Blu-ray and streaming services show these movies in their original aspect ratio, with either thick black "letterbox" bars at the top and bottom of 2.39:1 aspect movies (2.40:1 as it's put on the Blu-ray):
In non-IMAX theaters, the IMAX sequence was cropped 1.43 -> 2.39 so that the AR remains consistent throughout the film. Lucasfilm decided to use this version for the Blu-ray release. Typically when a movie contains IMAX scenes, they are cropped 1.43 -> 1.78 on the Blu-ray release to fill in the entirety of the TV screen. The Dark Knight is a good example of this. A consistent AR release is the version of the film that most people saw and is perfectly acceptable for the majority of people. However, there are others (including myself!) who prefer to see the film as close to its original intended presentation as possible. To see the effect of cropping on the picture, refer to this image:
THE 4K UHD DISCThe first of the Conjuring movies to get a physical 4K release, find the 2.39:1, 2160p video transfer of this expensive, mainstream, big-budget, by-the-numbers tentpole franchise garbage horror movie to be predictably eye-shattering. Presented with HDR10, the image is purposefully dim, although enthusiastic highlights lend a ton of visual interest, like the twinkling, almost celestial lights above young Lorraine and Ed as they act moony in a gazebo. Shadows are credibly black while the wider colour gamut shifts the colour grade away from the slight teal lean of the accompanying Blu-ray towards a more brownish-purple reminiscent of Ektachrome--a palette that better suits the period vibe. Red light sources, for what it's worth, burn with a hellish intensity they lack in SDR. Fine detail is super-fine, with settings like Kastner's basement library so sharp I felt I could read the titles of every grimoire if only the camera would move a bit closer. It might be too tactile in places, veering dangerously close to motion-smoothing territory: The digital source, upconverted from a 2K DI for this presentation, is so frictionless it loses any chance of filmic texture. The attendant Dolby Atmos audio bears down on you in its 7.1 Dolby TrueHD mixdown, yet I can't help thinking that for a horror movie this reliant on deep atmosphere and jump-scares, it all comes off a little thin. The opening exorcism is the key exception, filling the room with wind, a weird sizzling noise that creeped me out almost more than the events on screen, and enough explosive volume to become immersive. While it's technically irreproachable, this track, the bar has been set high enough at this point that I'm disappointed, almost bored, by the mix proper. It lacks imagination, sharing that deficiency with the film itself.
Regardless of whether productions choose to shoot on film or digitally, they will also have to pick an aspect ratio. This is the ratio of the width of the frame to the height, commonly expressed as a ratio such as 1.85 : 1. In the early days of film, movies were 1.33 : 1 (also called 4:3) which is close to being a square frame. However, when television came along and used the 4:3 format, Hollywood looked for new ways to make the cinema look bigger. They experimented with ever-wider formats, including ToddAO (2.20 :1), CinemaScope (2.35 : 1), anamorphic (2.39 : 1 ) and Cinerama (2.59 : 1) to name just a few.
The rest of the paper is organized as follows: In Section 2 we provide an overview of Star Trek film and television series franchise. In Section 3 we introduce the LTO version 0.1.1. It is a hierarchically organized controlled vocabulary of themes, partitioned into the following four domains: the human condition, society, the pursuit of knowledge and alternate reality. There are 1535 unique themes in total. Criteria and guidelines motivating our hierarchical arrangement are discussed. In Section 4 we explain the hypergeometric testing approach to theme enrichment analysis in full technical detail. In Section 5 we use the hypergeometric test to identify enriched themes in the two Star Trek case studies outlined above. These results we compare with those obtained using the standard TF-IDF approach to enrichment analysis. We conclude the paper in Section 6 with a summary of our main contributions, a discussion of some limitations of our methodology and go on to describe a handful of possible future directions. Most notably, in terms of limitations, we emphasize that we manually annotated Star Trek episodes with themes, and as a consequence the findings we report inevitably reflect our point of view, and are not fully replicable. The theme enrichment analysis procedure based on the hypergeometric test is implemented in the R package stoRy (version 0.1.1) (Sheridan and Onsjö 2017), released through CRAN (The Comprehensive R Archive Network 2019). The thematically annotated Star Trek episode dataset is included in the package. A related R Shiny web application is available for download at the Theme Ontology GitHub repository (Theme Ontology Project GitHub Repository 2019). 2ff7e9595c
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