On a computer, you use Google Chrome and install the Google Cast extension - yes, that’s the same extension Chromecast users use. Tap it in the list and the video you’re watching will be launched on your TV.ĭon’t see your TV in the list here? Assuming it’s powered on and is on the same Wi-Fi network as your smartphone, tablet, or computer, it probably doesn’t have DIAL support. If your TV (or another device, like a Blu-ray player or set-top box) is DIAL-enabled, you’ll see it in the list. Start playing a video and look for the “Cast” button - the same cast button Chromecast users use to start casting a device to their TV. Next, open the YouTube app or Netflix app on your smartphone or tablet. To use it, first make sure your smart TV is powered on. And, if you’re a Roku user, your Roku is DIAL-enabled, too. If not, it may be enabled in the future with an automatic firmware update. Assuming your modern smart TV has built-in YouTube and Netflix apps, there’s a good chance the operating system is DIAL-enabled. If it’s available on your device, it should just be enabled by default. Unlike HDMI-CEC, DIAL shouldn’t be a hidden option in your smart TV’s menus.
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Funimation released a limited edition Blu-ray/DVD combo pack on December 4, 2012.Ī 4-part fourth OVA was announced to be in production in October of 2015 with a slated release date of Novemfor the first volume. After Geneon's departure from the North American market in November 2007, Funimation bought the rights to the original two OVA series, along with a handful of other Tenchi Muyo! properties. Perhaps the most contentious result of Criterion’s otherwise gorgeous restoration was a revamped, director-supervised color grade that resulted in the film being awash in a teal hue. Some of the changes between the three versions are so minute that only obsessives will notice, yet side-by-side it is plainly obvious. This most recent iteration actually has more in common with the theatrical cut in that trims made for the LaserDisc edition have been reinstated, yet it still matches that version’s 124 minute runtime. There is no flashy “Special Director’s Edition” branding, but Criterion demurely notes that it is a “director’s cut” on their packaging. Mann went back to Thief for a Criterion release, this time in the form of a new 4K restoration sourced from the director’s personal 35mm answer print. This version also ended up on the MGM DVD in 1998, the only cut readily in circulation on home video until a third was released in 2014. Released on LaserDisc in 1995 in what was then dubbed a “Special Director’s Edition,” Mann’s re-working of Thief isn’t a mere extended cut - although it does run 124 minutes compared to the theatrical cut’s 123 - but rather an assemblage of various trims, additions, and perfectionist tinkerings that most viewers would never notice (such as messing with the rate of cuts in the climactic firefight). Most of his features have two cuts - a theatrical version and Mann’s edit - but in the case of Thief (1981), things are a bit more complicated. The two that have not been tinkered with following their theatrical releases are Collateral (2004) and The Keep (1983), at least not in commercially released versions. Out of his eleven theatrical features, nine have alternate versions supervised and preferred by the director. It’s hard to discuss the work of Michael Mann without addressing questions of authorship and revisionism. |
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