Sentences with phrase «most film cameras»

Most film cameras in 2016 are either considered outdated or...

Unlike most film cameras, it features a high - end 10MP sensor that captures images on an SD card and is then able to print them out as well.

Not exact matches

In 2010, Arri, maker of some of Hollywood's most celebrated film cameras for nearly a century, released a formidable digital competitor, the Alexa.

Unfortunately I was an idiot and positioned the camera behind my back, so I was blocking the lens with my arms for most of the film.

The Fujifilm INSTAX 210 is unlike most instant film cameras in that it features a digital LCD screen and control panel.

The camera also features a very helpful mirror for selfies, an option lacking in most instant film cameras.

Even after flexible film replaced glass in most photographers» cameras, astronomers continued to use glass to image sky observations, because the plates» rigidity meant that they would expose more evenly than film, the Australia Telescope National Facility explains on their website.

Developed specifically for the film and TV industry's most advanced technology, Ultra HD Liquid Foundation creates a naturally flawless complexion — on and off camera.

Originally, most films were shot on sound stages, with cameras and microphones being so big that filming on location with sound was near impossible.

In this most lavish production the carefully planned colour scheme and the skillful use of the camera make the film one of the most satisfactory colour films yet created.

it is funny in deed but, when their is someone to cover Sandler's movie their most likely gonna never make a film again Oh look see Denis Dugan and Frank Coraci BOOOOOO!!!!!!!!! you suck stop making adam sandler movies here is the problem they are directors who don't care about cinematography or shots of using the camera all they care is comedy!!!!!!! see Tyler Perry yeah their just like this big joke.

The press notes claim that most of the men in the movie are non-actors who weren't aware they were being filmed with hidden cameras until they were asked to sign releases following their «appearances.»

While it has visual energy to spare, the movie is more relaxed and less flamboyantly playful than most of Honore's other films, unfolding with naturalistic grace — precise but unfussy framing, fluid camera movements — and fewer New Wave - y winks and nods.

His overly cautious approach to this material, together with his unremarkable camera work, is a depressing foreshadowing of his work in the ensuing years, whether on the first two Harry Potter films, the first Percy Jackson film, or perhaps most criminally Bicentennial Man.

What is most admirable in this excellent film is how Heineman risks his life in the middle of the crossfire with his camera so that he can show us this tragic, appalling and complex situation to which there seems to be no solution and where one step forward means two steps back.

Celebrating women on film and behind the camera, SHO WOMEN ® HD brings you the most unique, daring, and groundbreaking films, documentaries, and specials from today's aspiring and established female talents — all in jaw - dropping High Definition and crisp Dolby Digital 5.1 surround sound.

Buñuel conjures with Freudian imagery, outrageous humor, and a quiet, lyrical camera style to create one of his most complex and complete works, a film that continues to disturb and transfix.

While several of the Angulo brothers have camera credits on The Wolfpack, this collaboration doesn't for the most part inform the filmmaking in any noticeable way, and only in these final moments, when under the credits we see a short film that Mukunda, now an aspiring filmmaker, shot with the help of his family, can they be seen to assert a style of their own onto the film.

In a film boasting four of the funniest women working on camera today, the biggest and most genuine laughs came from Thor.

The two time Oscar - winner has spent most of her time behind the camera for the past five years, following her last feature film starring role in Neill Blomkamp's 2013 sci - fi movie Elysium.

Narrated by Daisy Ridley (The Force Awakens), this documentary is one of the most gripping adventure stories put on film this year, as cameras follow a group of remarkable real people.

Possibly the most famous scene in the film (from what I've heard) is where a tear gas canister is thrown towards the camera and you hear someone shout «look out Haskell it's real!»

Look at the camera angles, the editing choices, the use of music — «The Knick» is our most film - like show on television.

Most of the features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic in Hollywood filmmaking are brilliantly apparent in The Errand Boy, including the foregrounding of sound manipulation (most blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the cameMost of the features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic in Hollywood filmmaking are brilliantly apparent in The Errand Boy, including the foregrounding of sound manipulation (most blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the camemost blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the camera).

I think most Oscarologists project the chances of a film this far out based on the pedigree and experience of the man or woman behind the camera.

Les Misérables certainly looks strikingly different than most of the other Broadway musical - turned films released in recent years, thanks to some picturesque visuals and unusual camera angles conjured up by director of photography Danny Cohen (who received an Oscar nod for his similar work on King's Speech).

During his long and fruitful pairing with Gene Siskel, Ebert stoked that passion as the two frequently clashed on camera over a movie's merits, becoming the most popular and influential film critics of their — and probably any — era.

I believe this is because most Irish films are written by the people who directed them, people who by inclination favour a visual approach, people who bought a camera before they ever bought a word processor.

Tangerine The most brutal, gritty and realistic depiction of the hardships of being a trans woman and prostitute ever caught to film with a messy, acidic camera style.

Joaquin Phoenix stars in surely one of the year's most anticipated films: The Master, which features myriad talent both in front of the camera and...

It is most unfortunate, then, that these moving and insightful interviews are intercut with footage taken with a helmet camera on a bicycle ride along a rocky mountain path — these point - of - view shots are supposed to convey meaning for Kedar, and yet they make whole sections of the film almost unwatchable.

Unlike Jackie Chan, Sammo Hung and Yuen Biao, he stayed mostly behind the camera, though he does have some memorable supporting turns in a few films, most notably in the Yuen Biao vehicle Righting Wrongs and as one of Hung's Eastern Condors.

The film bathes in this sort of humor throughout, and much like «Lock, Stock,» part of the winning comedy of Ritchie's vision is that most of the slaughter takes place just left of the cameras.

The camera behaves traditionally for most of the film, and will then randomly pan across the scene at an odd angle, just to be different.

For a documentary about (visual) memory the dominant theme resonating is strangely that of absence: Mick's trips away from the family, Mick's family not at his wedding, Mick's self isolation later in life, and, most, poignantly, the absence of the elusive Mick in his own films, a constant elided «other» as the filmmaker behind the camera.

What Oppenheimer does next is cinematic subversion of the most eye - opening kind, allowing these admitted murderers to re-create this violence for the camera in the form of a congratulatory film that is at points brilliant, terrible, hypnotic and upsettingly revealing.

Walt Disney Studios Home Entertainment promises 1941's «Dumbo» has been restored to the color settings most likely approved by Walt Disney himself, using prints held by the Library of Congress (nitrate camera negative) and the film Academy (dye - transfer Technicolor).

The film still has all the little Soderbergh touches — there's a scene involving a prison riot that gets caught up in the differences between the TV version and the book version of Game of Thrones in which you can almost sense Soderbergh nudging the camera — but what's perhaps most impressive about it is how effortless it all seems.

Sean Penn has not always delivered the most cheerful of films when behind the camera.

• The most famous shot in the film is a wonderful twofer: As Barton and Audrey (Judy Davis) get busy in the bedroom, the camera leaves them and wanders into the adjacent bathroom, where it plunges, snakelike, down the sink drain and into the pipes.

BE: It seems that the Mormon film community has its own little genre — my personal favorite being «God's Army» — but you actually worked as a camera assistant on «The R.M.,» possibly one of the most popular Mormon comedies.

This intimate portrait of a broken, yet lovable family gives viewers a quirky story, fascinating characters and compelling performances, but the hands - on camera work and the almost claustrophobic framing upends most of the film's emotional appeal.

Tony Zhou examines the particular technique of how The Coen Brothers film conversation by putting the camera in the middle, using short, up close lenses, and most importantly, focusing on the non-verbal aspects for both empathy and comedy.

In this film, most every bit of magic performed was camera tricks or CGI.

Sadly, hurricane Hooper begins to ravage the good ship «Les Misérables» with direction that works to put the audience in the most awkward position to view the film, with odd camera angles, extreme jump cutting and swift passages through time.

By assembling a classy team of talent both in front of (Cate Blanchett, Rooney Mara) and behind the camera (Carter Burwell, Edward Lachman), Haynes has crafted one of the year's most anticipated films.

One of the most discerning and revered actors in Hollywood, her public persona radiates with soft - spoken, good - humoured charm — and yet what stands out most prominently from her eclectic film career is the robust gallery of visceral, vinegary and headstrong characters who are unendingly encouraged to change their ways by those behind and in front of the camera.

If only the director had chosen to point his cameras at two boys who actually did some surfing, instead of two who spend most of the film chatting and mucking about on the beach.

To counter the common rap that he makes the same film over and over, The Day After, which competed for the Palme d'Or, is one of his most melancholic works, filmed in moody black and white, while Claire's Camera, shown out of competition, is its tonal opposite, a light and sunny divertissement shot on the fly during last year's Cannes.

Scorsese, it goes without saying, directs this with the fervour of a true auteur — perhaps not the most distinctive film he's made stylistically speaking, but still propelled by inspired musical choices, bold voiceover work, kinetic camera movements and a general structural playfulness (such as the fake television ads planted throughout the film).