Sentences with phrase «as camera effects»

Meanwhile a teardown reveals that Google is working on adding basic controls like exposure and while balance as well as camera effects to the video chatting service.

Not exact matches

This allows for some nifty effects to be applied, like refocusing shots after they're taken, but the end result just isn't as good as some other cameras out there.

Jensen admits that he prefers to do as much as he can in - camera, without digital effects, but in this case he has no regrets about going the CGI route.

The app is also getting video chat for one - to - one and group conversations, as well as AR camera effects.

NOW YOU KNOW WHAT ORWELLIAN UNITED STATES CONGRESS (USSR # 2 which consists of lawyers or what are liars, physicians / doctors and family members of effected individuals who suffered some sort of brain desease etc.... lawyers, so crime per physicians OR WHAT IS HUMAN EXPERIMENTATION can get away with it) AND OTHER GOVERNMENTS WORLDWIDE ARE SOOO BUSY WITH WHEN PLAYING / CLOWNING (acting) IN FRONT OF CAMERAS ONLY HOW SOMETHING HAVE TO BE DONE (deliberately omitting / delaying facts of genocide as seen on this complain)... NO DIFFERENT FROM ROMNEY WHOSE FATHER EXCELLED AFTER GM WAS DELIBERATELY SCREWED / BANKRUPT LIKE AMERICA TODAY (soon to be success based on deliberate sabotage which is nothing else than grand treason / betrayal with acts of genocide against targeted white population)!!!

The effect of this act Cook says, would allow the government power to capture data from any device or to require Apple to create a data collection program to intercept a customer's data, potentially got as far as using a phone's camera or microphone without user knowledge.

The so - called «involvement of the observer» in modern physics refers not to the observer as a person but to the effects of the measuring process on the results, which might even be recorded by an automatic camera.

Just let the camera roll as you and the kids color eggs with natural dyes, decorate them with herbs, or add flair to them with tie - dyed effects.

While the effects of climate change have already transformed parts of New York City — particularly its waterfronts, as documented by Camera Obscura columnist Nathan Kensinger in the years since Hurricane Sandy — things will likely only get worse in the years to come.

«What is particularly missing at this time is her coming out in public, meeting her constituents, talking to TV cameras, explaining what happened, perhaps being a little humble about all of this and giving a satisfactory explanation to her constituents and the wider Conservative family to be quite frank, because speaking to people from the West Midlands region where she is an MP, these things do have a knock - on effect and there are other marginal seats far closer to her constituency where people have got Labour majorities to overturn which may be more difficult if the local Conservative politician is seen as tainted and not having justified their actions and also I gather that Conservative Party HQ has had party donors from the region expressing concern that she hasn't satisfactorily justified what she has done.»

More than 40 closed - circuit cameras affixed above and below the Concordia will be monitored for debris left behind, which could include mattresses, luggage and other personal effects, and chemicals such as engine oil or cleaning products containing bleach and ammonia.

This effect, known as a photoconductive response, can be used to make a photodetector or light sensor, and because the two - dimensional nanosheets exhibited such a strong photoconductive response across a broad light spectrum and simultaneously resist chemical contamination, this research could lead to a revolution in extreme low - light, high - resolution imaging products and applications, such as consumer and professional cameras and video cameras, for example.

As if all that weren't bad enough, the effects linger after the cameras are gone.

Too often, though, Jakubowicz falls back on his relentlessly pirouetting DV camera, attention - deficient editing and ear - splitting sound effects as a substitute for real tension, or a more piercing inquiry into the bubbling tension between South America's haves and its poverty - stricken have - nots.

Yet what he needed wasn't a special effect, he needed a camera that could secretly film Johansson in disguise as she walks and drives the streets of Glasgow in a wig and outfit that makes her blend in.

The 1963 Haunting is still remembered fondly (mostly by critics) for its atmosphere and the performances of its two female leads, but, low - key as director Wise might have been, he, too, was not above a certain amount of excess, relying on distorting camera lenses and the cranking up of volume on music and special effects.

Tarantino otherwise performed wonderfully as host — he read the script's stage direction with his usual exuberance, acting out complex camera moves and providing sound effects; he also let the audience in on some on - the - fly directing, stopping the actors at numerous points with whispered tips or orders to repeat a passage.

Mostly though, the camera comes across as a gimmicky addition with some very light gameplay elements and doesn't have a profound effect on the experience either way.

Antal uses the widescreen canvas to good effect, framing windows within windows to emphasize multiple points of view (indeed, conflicting principles are what eventually set these men at one another's throats) and favouring a steady yet highly mobile camera that's mindful of spatial dynamics when roaming off to follow someone, underscoring the urgency within a scene as differing agendas unfold in the foreground and background.

The late third act transference of the Wendigo figure into the father as avenger — a metamorphosis represented with ingenious basement and in - camera effects — is a series of tightrope maneuvres that shouldn't work but work like a bastard.

Since as far back as «Ali,» the helmer has been smitten with the look of hi - def video cameras, experimenting with the various effects the format makes possible.

Obviously there are some clever editing tricks to make this long shot effect real, but when you have characters talking at great lengths as the cameras spins around the room and follow them down the narrow halls of the theatre, it's quite astounding to experience.

Apart from the opening scene, which incorporates special effects to help create a massive dry dock that serves as a prison (the prisoners hauling a ship into it with lines as thick as tree trunks), and a few brief establishing shots, which include dramatic rises and falls of the camera through space and time as each new stage of the story begins, Les Misérables keeps us in close — sometimes very close — proximity to the actors.

Roy Arbogast who has worked on special effects milestones such as «Jaws,» «The Return of The Jedi,» and «The Fugitive» leads a crew that did a lot with a little, using a combination of complicated puppets and mechanical creatures and old school camera tricks including reverse photography.

Mashing - up different film stock, lenses, video and in - camera effects with quick jump cuts and forced continuity, both directors seemed hell - bent on ignoring the source material as much as possible in favor of creating over-cranked «ecstasy trips» on screen.

That glow - up gave Coogler and team the opportunity to create as many physical sets as they wanted, as opposed to sets created purely by visual effects — «It was great to have something that grounded everyone,» Morrison said — and make use of as many camera tools as needed.

But on a purely cinematic level, Signs confirms Shyamalan as an exceptionally supple and intuitive visual storyteller, evoking fear and dread through insinuating camera movements, subtle sound and lighting effects, and canny use of offscreen space.

For such a minuscule budget, the film has some pretty impressive effects for the time, utilizing camera tricks as well as great make - up to terrorize the audiences with horrific scenes that come close to crossing several lines.

The aggregate effect of all the juggling is that The Commitments becomes alternately a soapbox for Parker using his green cast as a bullhorn and an extended concert video shot with the same two - camera set in various pub sets featuring a band that, for the most part, turns R&B classics into their mechanical pod counterparts.

Following the disastrous knock - on effects when a middle - class couple, who still love each other deeply, but are cripplingly divided on the future (Simin sees no future in the restrictive nation, Nader has to stay to care for his Alzheimers afflicted father), seek a divorce, it displays Asghar Farhadi as one of the great humanist filmmakers working today; he has empathy for everyone the camera points its lens at, from the couple's daughter to the brutish husband of their new employee, even as they do terrible things.

Outside of so moralizing a context, the film's oft - cited gore effects — such as the on - camera slashing of breasts, a nipple, and, of course, an eyeball (was this leitmotif of Fulci's a tip of the razor blade to Buñuel?)

These tricks include an Enterprise lift that goes nowhere, a five - year - old in a costume used to make a cave set look bigger than it actually is and (our favourite) how the camera is shaken to create that jittery effect during action sequences such as the skydiving jump.

The prologue is a visual mess of strobe lights and filter effects (A party montage is joylessly similar, using various camera speeds), and when Carrie Anne is on the loose, Tonderai offers only cheap, anticlimactic startle moments (The most ridiculous one eyes a couple making out in a car as Carrie Anne makes her way toward them).

While camera angles and lighting might change the overall effect, it's hard to see the thing in the photo as threatening.

Director Ridley Scott's Blade Runner, originally released in 1982, was not an initial box - office success, though since then it has earned a well - deserved following for its blend of science fiction, action and metaphysics, as well as for its awe - inspiring production design and in - camera visual effects.

Todd McCarthy, The Hollywood Reporter: «Favreau and cinematographer Bill Pope vigorously keep the camera moving at all but the quietest moments, and the visual effects team led by Robert Legato and Adam Valdez has both created sumptuous settings that look as lifelike as any CGI ever presented in a studio feature and integrated both humans and animal characters into them in seamless ways.»

The entire «shaky camera» effect is utilized efficiently and that my friends, is Uwe's first step to recognition as a film director who doesn't suck.

Footage from the cameras can be used to provide evidence for disciplinary actions but it can also be used as a way to show students who may not be fully aware of the effects their behaviour can cause.

Every shot gets drawn, including camera angles and close - ups, as well as special effects sequencing.

But as Manuel Lage has discovered the first car to bear the name was an Alfonso Hispano - Suiza / Americans to the Rear — Rear engined designs — Part Three / Americans to the Rear — Concluding his series on American rear engined cars Karl Ludvigsen examines the role played by General Motors / Epicyclic Gearing — Workshop — Part Two / Settlers Special — A cut - down 1933 Riley Monaco shipped to Vancouver by an ex-pat in the»50s formed the basis for Miles Fenton's ideal supercharged special / Racing in the Rain — Alan Smith has been using his camera to good effect at motor sporting events for over 50 years / Ards TT 75th Anniversary — John Payne reports on the 75th Anniversary of the Ards TT / The Little Engine that could — Gavin Farmer celebrates the Jowett Bradford / It's quicker by Rail — Brian Heath's subject this month is a 1939 Railton long chassis special limousine.

If there is a need to apply the brakes based on navigation data or camera images, for example, because the MINI is approaching a junction or another road user ahead, the coasting function is suppressed so as to be able to make use of the engine braking effect.

Designed with rounded edges to fit perfectly within your palm, the GALAXY Nexus features software navigation buttons, a first for Android smartphones, as well as a redesigned camera with panorama mode, 1080p video recording, zero - shutter lag, and effects with silly faces and background replacement.

Better yet, they can achieve the same effect through their front cameras as well, which should definitely help you up your selfie game.

Also: The Camera Awesome app gets some new effects with this update as well, the Shield Power Control Menu has...

On the left are buttons to switch the camera; select an effect such as grayscale, sepia and cartoon; and modify the camera settings (these include the camera resolution, anti-shake enhancement and burst speed).

You get the same ImageSense camera technology as employed to such great effect in the HTC One X, along with Android 4.0.3 and the very latest HTC Sense -LSB-...]

The front camera now offers Portrait Mode as well, using a new AI algorithm to give a depth - of - field effect.

The camera offers a good range of options, including multiple scene modes (Action, Beach, Night, and Snow), exposure settings, and color effects (such as Sepia, Negative, and Solorize).

Newer higher end devices (actual cameras) are not using this anymore as panning will give it a slanted effect

Other features of the camera include face detection capability, geo - tagging, and built - in effects such as depth of field.