Sentences with phrase «by moving the camera»

«I didn't think my end of things was to make things stand out, either with flat light or by moving the camera in some unique way.

A tracking shot down a seemingly endless corridor in the Department of Records is a logistical wonder created by moving the camera twice through a single passageway, with precisely choreographed actors swarming just inches away from the lens.

The clever mechanic that really makes the game stand out is how instead of interacting with the characters, you interact with the environment by moving the camera around, which in turn lets you alter the narrative.

By moving the camera down, LG was able to use smaller bezels to on the sides and top of the screen.

Not exact matches

It's not going to replace the SLR by any stretch, but there's little doubt that all cameras are inevitably going to move toward this sort of ubiquitous connectivity.

On the show's opening night, with thousands of attendees and reporters in the audience and video cameras rolling, an Emotiv team member named Zachary Drake attempted to move a cube and more, which by this point was something anyone at Emotiv could do in his or her sleep.

Prosecutors are joining the Broward School Board in moving to block the public release of footage captured by security cameras outside Marjory Stoneman Douglas High School during Nikolas Cruz's deadly Valentine's Day rampage.

As they moved down the line, candidates were peppered with questions and camera flashes by the media.

It took a few minutes but I think Calvin was inspired by Carter who was already moving his cameras around and starting to gather images.

These are by no means artistic photography cause some were taken from a moving bus, another while rushing down a sidewalk with just my pocket camera.

This baby monitor also has sound and motion alerts, notifying you when the baby moves or makes a sound that is picked up by the camera.

Developed by Carnegie Mellon roboticist Hagen Schempf, the Explorer - II features a remote - controlled fish - eye camera that allows above - ground operators to see what the machine does; drive - train motors that give operators unprecedented control over the pig's direction (most pigs still move passively according to natural gas flow); and a lightweight electromagnetic coil that detects changes in magnetized pipe walls without weighing the robot down, enabling it to inspect about two miles of pipe a day.

Dry soil should not move that way, so a team led by Alfred McEwen, principal investigator for the probe's camera, proposed that liquid water carried the soil downhill.

Rather than snapping images the way that your cell - phone camera does — by integrating the light such that images blur if you move — NuSTAR detects individual particles of X-ray light and marks when they are measured.

Observations taken 21 months apart by Hubble's Advanced Camera for Surveys» coronagraph show that the object is moving along a path around the star and therefore is gravitationally bound to it.

Two girls kissing on camera isn't exactly the most high - brow of marketing moves, but the sophistication is dialed up a notch thanks to a soundtrack that mixes text written by Andy Warhol and Beethoven's Symphony No. 7.

Director Sylvain White, whose last film was the equally unnecessary I'll Always Know What You Did Last Summer, manages to take the joy out of a dance movie by jerking the camera around and speeding up the dance moves so much.

A shirtless man (we see his bare chest, abdomen and back) approaches his wife in the kitchen: she is wearing a knee - length robe and she spoons ice cream onto her chest twice, licking it off, then spoons some onto his chest and rubs it down to his groin, the camera pans up and the man pushes down her head (indicating oral sex below the frame) and he gasps; he pulls off her robe to reveal a slip, sits her on a table and spoons ice cream on her inner thigh, licks it off and begins to lick the genital area (it's concealed by her slip and the camera cuts to her gasping face) and he leans her back on a table and thrusts (we see his back and bare buttocks moving) as the scene ends.

This is Schrader at his sparest; characters rarely look warm — the cinematography by Alexander Dynan («Dog Eat Dog») accentuates the wintry bleakness — the camera rarely moves during scenes, silences and awkward pauses abound, and the score by Brian Williams is used sparingly, but always effectively.

Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis» point - of - view, where De Niro's now - famous «You talkin'to me» improv becomes one more sign of Travis» madness.

This is a story dominated by men in coats and ties in visually uninspiring offices, but Spielberg and cinematographer Janusz Kaminski keep the camera moving and the angles varied.

Given wide latitude by the hero's gift, the story floats waywardly all over the place and, though the fancy camera moves are impressive, the journey is unsatisfying.

On this scale, soap opera and comedy skit bytes can only go so far, and Infinity War manages a succession of double - page - spread awe that sells the cosmic saga: a marvellous trompe l'oeil shot as a camera move reveals the sorry state of Thanos's rebel adoptive daughter Nebula, the by - now - obligatory mass urban destructions and battles with monster hordes on open planes, and gorgeously imaginative outer - space vistas.

They use the camera in an expressive or poetic way so rarely that when they do bust out a heartfelt flourish (like the long, slow camera move that reveals the Guardians in their spaceship engaged in a sing - along, or the «wipes» that reveal the reality that Thanos» illusions hide, or a climatic fight between Thanos and multiple heroes) it's as if somebody had briefly sparked a dull wedding reception to life by going out on the dance floor and demanding a song with a backbeat.

Following a series of ups and downs in the early 2000s, Ben Affleck began to turn his career around by moving behind the camera.

It's progressive, so you can move the camera slowly or quickly in Monster Hunter, for example, by pushing harder or more delicately in any given direction, but it's a foreign feeling for a while.

Adapting a short - story collection by James Franco, Coppola preserves the episodic structure of the book, allowing her camera to move among the characters with a breezy sense of freedom: April (Emma Roberts), the intelligent yet vulnerable good - girl lured into an affair with her charismatic but creepy soccer coach, Mr. B. (played by Franco); Teddy (Jack Kilmer) who's in trouble with the law and in love with April; Fred (Nat Wolffe), Teddy's cocky, bad - influence sidekick; and Emily (Zoe Levin), the profoundly sad school slut who freely dispenses blow jobs in place of genuine connection.

Demme does what he can to spice up the performance, utilizing a number of lighting changes, camera moves, some sound effects, and a very 1980s - sounding score by Laurie Anderson.

It feels troublesome just to move Ryu around the level, and it's exacerbated by camera functionality which has always been passable at best throughout the series.

The way you aim your camera is by actually moving the 3DS similar to playing an AR game which feels like it's a little much.

When Jay (Maika Monroe) makes the mistake of sleeping with one of the aforementioned boys, she finds herself followed by a mysterious, slow - moving presence (the camera itself) that can assume any human form.

«If the camera is in love with all the characters, it seems especially aroused by the women, all of them beautiful, who in the film's frequent party scenes bump, grind, pole dance, and indulge in hot, flirtatious girl - on - girl moves.»

OLIVER STONE Interview by Gavin Smith The director of Platoon, Born on the Fourth of July, JFK, and now Heaven and Earth talks about style, history, shared dream sequences, point - of - view shots, Jim Garrison, the moving camera, the forthcoming Natural Born Killers, and breaking the rules

You must use the GamePad to play by moving with the left stick and controlling the camera with either the right stick or by tilting the GamePad.

Trousdale and Wise staged and shot the production numbers with panache to match: that circular sweep around Belle when she sings «There must be more than this provincial life» in the Oscar - nominated curtain - raiser «Belle»; the indelible hilltop Sound of Music homage that is «Belle (Reprise)» (rendered all the more stunning by IMAX); the swinging camera moves in that showstopping musical monument of self - love, «Gaston»; the Busby Berkeley bustle of the also - nominated «Be Our Guest»; the eloquent simplicity of the Oscar - winning title number.

Wright keeps things moving with whiz - bang in - camera tricks, action choreographed by Jackie Chan's longtime stunt coordinator, and pop music from [the main characters»] salad days... I think you can deduce from the foregoing that I pretty much unreservedly loved «The World's End,» whose compact dramatic structure and steady flow of good jokes puts most mainstream American comedies... to shame.»

By focusing on fighting from a 2D perspective Namco and ArcSys allow the hallmarks of the series to shine, with flashy special moves and cinematic camera angles all designed to wring every last drop of nostalgia from Dragon Ball fans — with those same scenes so well crafted that they might even imprint on first - timers in the same way the original show did.

There are times when Edith hugs Thomas, his black coat taking up half the screen, and as the camera moves to the side Edith is slowly engulfed by blackness.

Devil isn't quite the claustrophobic, one - set film you'd expect, as the inside - the - elevator action is broken up by side stories involving a police detective investigating the apparent suicide of a jumper in the building, as well as the building's security personnel who are actively trying to get the elevator moving again, while watching the horrific events take place through their security camera in one of the upper corners of the elevator's interior.

Whereas the earlier films, mostly shot by Dietrich Lohmann, often framed the groups or members of the group in static tableaux in order to highlight their solidarity and opposition to a lone outsider, this film (Fassbinder's ultimate collaboration with Michael Ballhaus) uses an almost constantly moving camera and a remarkable succession of framing and fracturing devices within the camera frame to underscore the shifting alliances, individual isolation, and internal struggles of the characters.

Its opening scene, a soiree celebrating Zweig's arrival in Brazil, takes place in a grand dining room with all - white furnishings offset by the vivid floral arrangement at its center; the camera stays put during the extended sequence, but Schrader and cinematographer Wolfgang Thaler keep our eyes moving.

Still, there are more than enough laughs and clever surprises in this broad and sometimes violent farce to warrant a recommendation, thanks to a solidly funny script by Mark Perez, some pretty neat camera moves and choreographed action / comedic sequences from directors John Francis Daley and Jonathan Goldstein — and a likable and talented ensemble cast, led by two of my favorites.

For those who want a more hands - on approach, you can lead your forces personally by letting your «spirit» possess any of the goblins you command, at which point the camera moves in for an extreme behind - the - back view akin to what you might expect of a third - person action game.

As the camera moves out, a disorientating scene emerges; a lifeless body (Him, played by Des Hamilton) is surrounded by a pool of blood, Morvern Callar (Samantha Morton) is lying on the floor lost in her own thoughts.

When my camera responds to something or my camera decides to make a particular move or do something different with lighting, it's generally because I was inspired by what the actors are doing.»

In Michell's hands, a relatively working - class set of characters becomes incongruously bourgeois through sensuous camera moves and catalogue - ready tableaux accentuated by not only walls of Kubrickian white, but also a decidedly «upscale» piano score.

He was inspired by the fluidity of Del Toro's constantly moving camera, and by the importance of water to the story.

Yet Rudolph's camera — which often floats dreamily along the edges of scenes — will eventually give up its shy, arty detachment when so moved by an actor.

Thank You for Your Service by Hope Madden American Sniper screenwriter Jason Hall moves behind the camera for his thematically... read more →

That's why the attempt made by Candy (Maggie Gyllenhaal) to leave prostitution and move into pornography is the most compelling through line of the piece: From in front of and eventually behind the camera, Candy can use her awareness of the male gaze to make a product of herself and the other women on - screen.