Sentences with phrase «cgi shots»

Lin took over after a lackluster sequel, delivering a fun follow up (Tokyo Drift) that brought Fast and Furious back to race culture roots and practical stunts blended with fewer CGI shots.

There are a couple of CGI shots that look a little plasticky, the director's TV background is noticeable in his occasionally mundane choice of camera angles and the action might be undercut with humour a little too often, but these minor niggles are more than countered with some first - rate fight dynamics, effortlessly pithy badinage and top - drawer performances.

You could bring it in at two hours by cutting CGI shots, and have a better movie.

All of the emotional stakes get replaced by bad CGI shots of beautiful people morphing into beautiful dog - people.

«It's obvious we can do quite photo - real CGI shots and no one can tell the difference.

«If you do two or three CGI shots per episode,» Fields said, «we hope the audience will think less about the coat, the laundry basket.»

Co - creator / co-showrunner Joe Weisberg added that they also used CGI shots to remove the bump entirely.

You know how in every period piece these days there's that CGI shot of the city in ye olde times, with mud streets and famous buildings under construction and smoke rising from chimneys and old fashioned carriages and steam boats on the river?

The poster shows a full body CGI shot of Harry Mason holding a pipe surrounded by in - game CGI shots of Harry, Lisa Garland, Alessa Gillespie and Cybil Bennett

Not exact matches

Producers say new episodes will feature Tinky Winky, Dipsy, Laa - Laa and Po as characters, but the series will undergo an update with new CGI effects and scenes shot on replica models of the sets.

At this point Nelson took the footage shot and inserted what they had done with CGI Rachael, and showed what they had to Villeneuve and the producers.

In November 2016, he saw Jenkins» cut, and though the CGI and color correction weren't finished, he got goosebumps watching the scene, especially the buildup of Wonder Woman's climb up the ladder, for which he included insert shots of her shield, boots, and lasso.

CGI is used for visual effects because the quality is often higher and effects are more controllable than other more physically based processes, such as constructing miniatures for effects shots or hiring extras for crowd scenes, and because it allows the creation of images that would not be feasible using any other technology.

I tried to put some live - footage shots but I ran out of time so CGI did the trick.»

Shooting the live - action backplate that the CGI flocks will «fly over.»

It becomes less of a problem when we enter into full blown CGI - laden action sequence territory where fire and orcs are being flung around the place or when we get far away shots of the sweeping landscapes.

She then moved to eastern Europe for six months while shooting her second movie, Dragonheart, which was also a very physical role but also required her to deal with CGI special effects.

Long shots of this CGI happening, some taken from a helicopter, will not soon be forgotten.

The CGI and concepts were nice and detailed, but you could never appreciate those details because a shot of the bots lasted no more than 2 seconds.

Blending close up tracking shots with CGI kites, these sequences are not only out of place, they subvert whatever symbolic meaning the kites had to the story.

But it's doubtful that any of this matters much to Kapur, whose primary attention is sweeping overhead shots, massive CGI tableaux, and the distinctive warp and weave of Lizzy's wigs for all occasions.

(A dozen years removed from the days when filmmakers were respectfully, digitally removing them from skyline shots, we now have a blockbuster that uses CGI to erect them anew.)

The movie kicks off with a poorly CGI'd (for Zemeckis) shot of the hero standing in the Statue of Liberty's torch with the Towers looming across the water behind him, talking and talking and talking not to you but at you, often in bizarrely gargoyle - ish close - ups, about the amazing thing he's about to do, or is doing — as if convincing us to buy a ticket to the film we're already sitting there watching.

Shots of the moon, moving vehicles, the lunar surface and of course Little America just look average and obviously CGI.

Now there are sequences in which the camera moves smoothly, in which shots last for longer than three seconds apiece, in which we can actually see and appreciate the marvelous CGI Transformers.

Adding to the confusion are a few scattered CGI effects that can be detected with very little difficulty and some fairly erratic cinematography that includes headache - inducing handheld shots and scenes that are so poorly lit that it looks as if the sets were illuminated with a 40 - watt light bulb.

It's well shot, edited, acted, scored... the CGI is really good, the vistas are occasionally breathtaking... but it seemed like it was part of a Chinese series that I wasn't familiar with, and so I became bored.

In one of the documentary's most illuminating segments, he explains that the CGI breakthrough of Jurassic Park traced back to his insistence that the movie's dinosaurs be able to run in the same shots as the humans.

OK, shoot»em up, no real acting to be done by anyone, super CGI, few funny lines, overlong, good for a wet Tuesday but it ai nt art.

Also, while the film overall boasts bold visuals, certain wide shots of the ship at sea look hopelessly CGI'd and I'm certain that at one point the tip of a boom mike was visible in frame.

Shot in lovely pastel colours and dappled sunshine, and augmented by subtle shots of CGI, there's a touch of Michel Gondry in the winning, whimsical loveliness of Park's film.

The much lauded opening shot is fine, though I found it rather disappointing that it relied so heavily on CGI.

Just as off - putting is the use of obvious CGI in order to digitally crop Moretz's head on to whomever the body double in that's actually playing the cello in the long shots.

The CGI and green screen work is very bad and some dark night shots exhibit a bit of unsightly grain.

director Mike Mendez — that, while it has a charming sense of humor about itself, leans too heavily on CGI blood; The Girl With All The Gifts (B), a well - shot British zombie film that attempts to inject new life into a tired genre, and almost succeeds thanks to young star Sennia Nanua; and the disappointing Phantasm: Ravager (C --RRB-, a low - budget labor of love which, while it plays like a Phantasm fan film, ultimately undercuts the emotional closure it attempts to bring to the franchise by failing to resolve the central conflict between good and evil.

These shots are impossible without the help of CGI, which Fincher uses subtly.

Everyone else, prepare to get seriously overexcited: everything we've seen about the upcoming Episode VII, from the cast to the trailers to the recent Vanity Fair production shots, looks just as CGI - spectacular and old - school cool as we'd hoped.

The summer's best threequels took radically different approaches: The Bourne Ultimatum was almost completely shot in camera; Pirates of the Caribbean: At World's End was a bravura usage of CGI.

I have updated the gallery with a gorgeous promotional shot of Scarlett alongside her The Jungle Book character, Kaa (in CGI form, of course).

The film is an exhausting collection of airplane CGI Firefox - style and heroic slow - motion establishing shots with shutter - staggered sprints through minefields, tripwires, and large - calibre gunfire that would be more at home in a chop - socky Van Damme opera.

A combination of low budget, crappy CGI and uninspired shot composition means that this film is not in the least bit flashy to look at.

Though rife with obvious CGI elements (there's a shot involving a parachute that will go down as one of the worst CG shots of 2014), it's a fairly impressive effort, with the requisite explosions, destruction, knife throws, and fistfights galore.

These fights are rather claustrophobic and sloppily shot, alternating between obvious stunt doubles, obvious wire - fu, and obvious CGI.

What the piece perhaps aims to prove is that so much of what one would assume is CGI was shot practically (such as the motorboat sequence and the fire stunts), though it's also a love letter to a close - knit production whose sometimes drippily sentimental narration gives it the feeling of a video meant for private screening at the wrap party.

It's impossible to talk about it without mentioning its bravura, CGI - assisted tracking shots, which immerse the viewer even more deeply in this bleak, terrible view of Britain in 2027.

The ghostly apparitions (reportedly mostly shot with live actors in costume rather than CGI) are very well done.

While the scenes of the alien in puppet or costume form are still impressive, the CGI development was rushed, causing some of the external shots and scenes of the alien in full - view to appear less than convincing.

Because Kara Wade (Biel) is a girl, she's given the dialogue about collateral damage and the morality of long - range mechanized warfare; because Henry is black, he gets the business end of a mountain when a flying washing machine outsmarts him; and because Rob Cohen is the director of this mess, there are a lot of CGI point - of - view shots of electrical currents going through wires.

The near - drowning of the Nash baby, for instance, was accomplished through computer - compositing; leaves were put on bare trees for sequences shot in the wintertime that were supposed to convey a summer setting; pigeons were fabricated in A Beautiful Mind's cleverest moment... I truly am a CGI born - again after watching this doc.

every film he makes is exactly what Tarantino wants to make he holds back nothing and achieves with a single camera shot the intensity of a million dollar CGI fest.