Not exact matches
Even with all the stars and special
effects and astronomical
budgets, he manages to stick some signature
shots in.
I appreciate that the film had a tiny
budget of $ 15 million, but that simply means they should have been more choosy when it came to visual
effects shots.
Given a reported production
budget of $ 180 million, there are needless to say quite a few visual
effects shots in Disney's Maleficent, released this past summer.
Given the extreme low
budget (the film was
shot on a shoestring in Budapest), the special
effects look pretty credible, with Petty wisely deciding to spend most of the time with the creatures in the background or swathed in shadow, understanding that Sentinel is a picture of ideas — an unusually faithful recreation of Hitchcock's film possessed of a similar, mordant sense of humour, if an understandable surfeit of corresponding depth.
You obviously misunderstood me, i didn't say it looked «homemade» because of it's
budget as you implied since you compared it with Avatar, but because of it's cinematography plus some
effect shots were... subpar.
Going to work with a half - million
budget, Saulnier gets his
effects the old - fashioned way, by being attentive to the environment he's
shooting; Blue Ruin, grounded throughout in real American contexts, is unusually sensitive to place.
Smartly
shot for a very modest
budget of $ 30 million (lots of strings were certainly pulled to get such a cast of famous personalities onboard), Rogen and Goldberg know where and when it's most effective to go for special
effects (this does not feel like a low
budget Hollywood film), and they do so without letting visuals or star egos get in the way of making a very funny movie.
Essentially a jungle - peril drama about a couple on the run, that film used its Central American locations and its very modest
budget to economical
effect — and was astutely sparing with
shots of its titular creatures, eerie rather than frightening phenomena that resembled ethereal stilt - walking jellyfish.
After
shooting the low -
budget Monster (whose visual
effects he funded himself), director Gareth Edwards got his
shot at the big time by being given the huge
budget to
shoot the latest attempt by Warner Bros. to make a decent American version of Godzilla, 16 years after Roland Emmerich's pretty awful effort.
An impressive
shot establishing Pumpkinhead as he strides into the skeleton of an old, broken - down church in blue half - light suggests more than the triumph of practical
effects on a low
budget and tight
shooting schedule: it suggests that the film's simplicity could — should — be read as pagan folktale, complete with cautionary spiel, brutal exposition, and a surprisingly strong moral grounding.
The Host is a more traditional mix of set builds and location
shoots, with integration (again) of visual
effect nuances on a much thriftier
budget.
But the pilot offers a
shot at increasing the effectiveness of federal programs like Title I. Despite an annual
budget of $ 15 billion, study after study has shown the 53 - year - old cornerstone of Lyndon Johnson's War on Poverty is not having the intended
effect of improving impoverished students» outcomes.
Ray tracing simulates light, shadowing and other
effects to near - perfection, which is why every film and big -
budget TV show dedicates massive computational resources to each VFX
shot, ensuring graphics blend seamlessly with reality.