Sentences with phrase «productions frame by frame»

Not exact matches

In the September 2013 Quarterly Report we wrote that, by 2015, increasing production from US shale oil would be «easily absorbed by an estimated incremental demand of 4 million barrels from non-OECD countries over the same time frame».

WEAKNESSES: Adequate height / length, but lean - framed with a slender, unimpressive build... marginal play strength and allows physical defensive backs to slow his route and disrupt the timing... struggles to gain body position downfield... lacks the body power to force his way through tackle attempts... tends to get alligator arms on in - breaking routes as footsteps hurt his concentration... underpowered blocker... body isn't constructed for routine punishment — hampered by a left ankle injury (Nov. 2017) down the stretch... production dropped in 2017 without John Ross drawing attention on the other side of the formation.

A phenomenal soundtrack from M83, and some inspired frames by DP Simon Beaufils (particularly in an early sequence at the dance club Le Future, which is juxtaposed by another grisly murder) assists in making the production of Knife + Heart the real winner.

Focused only slightly differently is «San Andreas: The Real Fault Line» (6 mins., HD), which spends its opening moments very superficially discussing the real threat of earthquakes in California before delving into the production tricks behind the film's earth - shaking scenes, like a restaurant set designed so that everything visible in the frame is shaking except the floor itself, since it was being prowled by a Steadicam operator.

Directed By: Paul Bartel Starring: David Carradine, Sylvester Stallone, Simone Griffith, Mary Woronov, Roberta Collins, Martin Kove Year Of Production: 1975 Running Time: 79:51 Region Coding: 1,2,3,4,5,6 Video: Pan & Scan / Full Frame Pan & Scan Audio: English Dolby Digital 2.0 (224Kb / s) 16x9 Enhancement: No

With cinematographer Jarin Blaschke's lens capturing the imagery aided by production designer Craig Lathrop, every frame of The Witch is a stunning work of American, colonial art.

To see these two heroes framed against vistas made famous by the likes of John Ford brings a swell of all - American pride, though it's easy to lose the characters amid the intricate, hyper - detailed production design that has become such a Verbinski - Bruckheimer signature.

There are interesting side - by - side storyboard / finished scene comparisons for the film's more visually complex sequences; a selection of rather understandably deleted scenes that can be viewed with commentary by director and producer as well as within the context of the film (albeit in rather cumbersome fashion); a largely useless montage of still photos from the production cut to a cue of John Murphy's score; the usual cast and crew filmographies and production notes; plus a full - frame version of the film to go with the nicely transferred anamorphic widescreen one.

, Syd Garon (CEH15, Outstanding Graphic Design, Jodorowsky's Dune), Eugene Hernandez (Deputy Director, Film Society at Lincoln Center), Eric Hynes (Associate Curator of Film, Museum of the Moving Image), Jason Ishikawa (Head of International Sales, Cinetic Media), Steve James (CEH12 Winner, Outstanding Feature & Direction, The Interrupters), Kirsten Johnson (CEH17 Winner, Outstanding Feature & Cinematography, Cameraperson), John Kusiak (CEH12 Winner, Outstanding Score, Tabloid), Loira Limbal (Vice President, Firelight Media), Elizabeth Lo (CEH16 Winner, Outstanding Nonfiction Short Film, Hotel 22), Michal Marczak (CEH17 Winner, Heterodox Award, All These Sleepless Nights), Marilyn Ness (CEH17 Winner, Outstanding Feature, Cameraperson), Dan Nuxoll (Artistic Director, Rooftop Films), Bill Ross (CEH13 Nominee, Outstanding Direction, Tchoupitoulas; CEH16 Nominee, Cinematography, Western), Kelli Scarr (CEH09 Nominee, Outstanding Score, In a Dream), Mo Scarpelli (CEH16 Nominee, Spotlight Award, Frame by Frame), Jess Search (Chief Executive, The Doc Society), Signe, Byrge Sorensen (CEH16 Winner, Outstanding Feature Film & Production, The Look of Silence), Jean Tsien (Editor of CEH17 Audience Nominee Miss Sharon Jones!)

The production design (from Paul D. Austerberg) is a freaky fun melange of classic 1950s decor and the retro futurism of sci - fi flicks of the day, framed with relish at all sorts of kooky angles by DP Dan Laustsen.

It is in its biggest plot twist that it becomes evident, Coogler's efforts are haunted by the Marvel brand, and the head honchos who would have been keeping a very close eye on production, as although the director and his cast infuse nearly every frame with soul and style, many MCU fans who have simply watched the trailer for Infinity War know what's up and, well, will see right through the most - shocking part of the film.

Don Miguel — the leader of a full - scale heroin production center — whether by choice or by narrative framing is someone who's ostensibly searching for peace and the ability to provide for his family in his chosen way.

Featuring stunning costumes designed by Mayes C. Rubeo (John Carter), incredible production design courtesy of Oscar - winner John Myhre (Memoirs of a Geisha, Chicago) and eye - popping art and set direction, oftentimes there's so much going on in the frame it's almost impossible to take it all in.

While the cars are powered by the 20B rotary engines, the car is in fact built on a tube frame chassis and not on the production car.

The first 350 GT frame was fabricated by Neri and Bonacini, who continued to act as Lamborghini's chassis supplier until production of the 350 GT was underway, when the job was turned over to Marchesi.

Artist participation in the project has also been supported by the following agencies: FRAME Finland for the inclusion of Sasha Huber, the Mondriaan Fund for the inclusion and production of works by Patricia Kaersenhout, and the Danish Arts Council for the production of works by Michelle Eistrup.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Each of these artists has positioned themselves outside the frame of Africa, but each remains connected, and by doing so has created a shift in the way the world considers postmodern and postcolonial art production.

- Solo exhibition for the artist of year - the winner (individual artist or 1 team) will be eligible for travel and accommodation - production (printing, framing or related presentation material)- exhibition exposure at the Festival's main exhibition space / outdoor - inclusion in art magazine and any related press - long term festival representation and promotion on official website - publications / catalog - being seen by a substantial number of visual arts professionals and the media - having their work viewed by an international panel of influential experts in the field of photography

Reflecting the numerous strategies of production and display that co-exist within art photography today, on view are framed prints, wall - sized installations, light boxes and digital videos by significant artists across several generations, including Richard Prince, Cindy Sherman, Thomas Ruff, Jeff Wall, Anne Collier and Elad Lassry.

The idea of a production that was totally mine had already come to me in spirit in 1926 when I finished the Cirque, and when I tried to frame it in a stage opening, amusing myself by thinking it an actual theatre.

Today's funding trends such as Creative Place - making, made possible through partnership enterprises among foundation, governmental, and financial - sector support, such as ArtPlace America, are concentrated on giving art and artists opportunities in diverse communities yet also require artists and arts organizations to think through an entrepreneurial frame by integrating their initiatives into their community's economic development and community revitalization strategies and having the potential to attract additional private and public support of the community.3 Is this a worthy challenge of contemporary arts insularity or does it discount subversive and against - the - grain art production, made by and for art communities, including that which is made within and by these same diverse communities that are being targeted by new funding initiatives as in need of help in the form of artistic interventions?

This programme has been constructed in the awareness that style is less a question of stylistics than ethics, i.e. a way of keeping its subject at a distance, of including the out - of - frame as a dynamic produced by the viewer, of thinking not only about the production of images, but also about their distribution, and how they cohabit with other sources of images.

These were framed pictures, shot by professional photographers on production sets, that always diverged in their perspective, often subtly but sometimes dramatically, from the footage shown on - screen.

Contrast the footage of Blankenship at a pro-coal rally, surrounded by employees and adorned in as much red, white and blue as his frame will allow, with the fact that over the past 30 years, Massey's production increased by 140 % while eliminating 40,000 jobs.

We can look at solar output over large time frames by looking at the production of carbon - 14 (less is produced in years of high solar activity, and vice versa).

We have evolved from Mallios v. La Reine, [1978] Q.J. no 380, there Greenberg, J. of the Quebec Superior Court was considering whether the trial judge was in error in taking judicial notice of the fact that Montreal Harbour was in Canadian waters south of the sixtieth parallel of north latitude: 12 «Judicial Notice» is the act by which a Court, in conducting a trial or framing its decision, will of its own motion, and without production of evidence, recognize the existence and truth of certain facts having a bearing on the controversy, which are universally regarded as established by common notoriety; that is, facts which can not reasonably be the subject of a controversy.

The production vehicle displayed at CES has a disconcerting face, and from certain angles, it looks like it'd fit nicely into the frame of a 1960s film directed by a guy who's guessing what the Car Of The Future looks like.

Rubin also shared some photos showing the production process, with stacks of what looks to be PH - 1's outer frames being carried away by a mechanical carousel.

Harley Davidson — Provided robot bike frame weld procedures and weld process controls increased robot MIG weld production by 30 %.