Sentences with phrase «camera action scenes»

The Stark heir remains undefeated on the battlefield against the Lannisters, yet has had more romance and drama than on - camera action scenes in the epic fantasy series.

Not exact matches

Lights, Camera, Take Action: Behind the Scenes with Generation Know

Our wildlife cameras capture behind - the - scenes action day and night in hidden corners of the sanctuary.

If you want to use your 4K camera for action - packed scenes, zoom is an unnecessary feature, but zoom comes in handy for filming athletic events, people, and nature scenes.

While other camera systems can generate gigapixel - and - larger images, those composite views are stitched together from individual images taken sequentially with one camera as it is panned across the scene; the new system takes all 98 images simultaneously, providing a «stop action» view of a scene.

thrilling action scenes, stunning camera work using techniques that wouldn't be seen again for decades, and it helps if u enjoy history lol.

Like most of the more notable critics have pointed out; no personality is to be found among the Decepticons (the least they could've done is to synthesize StarScream's rasp to throw the fans a bone for God's sake), an overly active camera and «busy» robot models make some action scenes little more than a confusing blur, and goofy, unfunny dialogue permeates the story.

For his elaborately choreographed fight scenes, Canutt developed a new, more realistic method of throwing punches, positioning the action so that the camera filmed over the shoulder of the actor receiving the blow, with the punch itself coming directly toward the lens.

Antal keeps his scenes sharp, and he knows where to put the camera to get the audience down into the action.

Paul's exposition on Salinger's The Catcher in the Rye, an elaborately constructed scene where Ian Baker's restless camera cuts repeatedly between the four characters» constantly changing positions, exemplifies the way in which an intradiegetic audience is constructed and the overtly performative nature of the action foregrounded.

He's also added bed - based brooding and Tommy Lee Jones - talking to his considerable repetoire of skills; meanwhile, it looks like returning director Paul Greengrass (The Bourne Supremacy, The Bourne Ultimatum) has finally mastered the art of shooting a tense action scene without shaking his camera like he's tap dancing on the San Andreas fault.

The few scenes that do rely on their limited acting ability aren't pretty to watch, but they're rock stars when it comes to the action sequences, which are peppered with some cool POV camera work that is the closest most people will ever get to the real thing.

The action sequences chunk along with a shaky camera and a shaky camera does not translate into thrilling scenes.

The movie, directed by yet another Key & Peele alum, Peter Atencio, is at its best during action scenes, or any time the camera cuts to Keanu...

Only a subplot involving a pair of crooked local cops and the two brief, vigorous action scenes — shot largely with the camera following the assassin Portnoy from behind, her black wig in the center of the frame — give a glimpse of what Florentine is capable of.

My only gripe is the camera was very shaky in the action scenes & made me feel quite dizzy.

When a Reversal Edge hits, you can enjoy a powerful production like a scene from an action movie, highlighted by a dynamic camera.

I can, however, commend director John Singleton for the satisfactory action scenes which minimized the kind of close - up, rapid camera movement that has drawn the bulk of my ire in recent months.

I've seen too many action scenes were the camera work and editing is far too fast and muddled leaving you with a jerky feeling.

Scenes often open with trick photography that make cars and buildings look like toys, while a trailing, floating camera not - so - subtlety mimics the moves of third - person video games during several action sScenes often open with trick photography that make cars and buildings look like toys, while a trailing, floating camera not - so - subtlety mimics the moves of third - person video games during several action scenesscenes.

Deepwater Surveillance (17:40) consists of twelve clips from secondary cameras running during the filming of action and stunt scenes, giving you the feel of being a fly on the set.

Only the action scenes, which are already plagued by hyper editing, exhibit this feature, so perhaps it is a product of using Chinese digital video cameras.

The Matrix ushered in a new era of Hollywood action scenes with super slow - mo, rotating cameras, wire - work, and CGI.

The scene is pretty basic, but the way the camera moves past the action really marks this as Dominik's work — he's not a guy to engage a scene in the obvious manner.

Just imagine having to shift through 70 hours of footage that came from the 5 «HBO» cameras and then the 2 - 3 film cameras used to capture the action taking place outside of the ring — and that was just for the boxing scenes.

It's the kind of movie that can only be admired for its showmanship and presentation, rather than on its believability, and along these lines, Leterrier keeps the hi - tech eye - candy light and mirror displays dazzling, the sweeps and swoops of the camera simpatico with the mesmerizing music, and the action from scene to scene moving almost brisk enough to avoid enraging us from its perpetually smug attitude toward its audience.

The following quote from Ryan Coogler, writer and director of Black Panther — a superhero blockbuster — on working with Rachel Morrison, supports the notion that there is no reason for the dearth of women cinematographers behind the camera when shooting action — or any other kind of scene.

Using a combination of actors on wires, motion capture and filming segments of fight scenes at different camera angles the actors would appear suspended in the air mid action.

Director Matthew Vaughn still has the chops for some seriously fancy action scenes, as the camera spins around the combatants like an untethered raven, the action speeding up or slowing down as aesthetics needs be.

Soderbergh shot the major dance sequences in long takes, using only a few camera setups, just as he did the fight scenes of his recent action movie Haywire.

There are some high - powered action sequences, but the camera moves and edits are so quick that these scenes are difficult to appreciate.

There are the expected scenes of actors riffing all over each that populate most modern comedies, but also hints at a bigger budget and attention to aesthetics like nifty camera work, tilt - shift photography, and some decent action set pieces.

What follows is well acted and entertaining, though I did have a problem with the shaky camera work during the arena action scenes, and some of the visual effects looked cheap.

Even the action scenes are directed with so much moving cameras that it's difficult to tell what's going on.

Director Kathryn Bigelow gives the proceedings a hefty dose of style, using a lot of dreamy slow motion and quick editing, and staging the action scenes with great energy; her most brilliant work here are the on - screen recreations of the SQUID clips, shot in long takes and with appropriately edgy and shaky handheld camera work.

The interesting aspect of work on The Young Pope is that, despite the limited production times, we managed to come out of the constrictions of the TV series: fast editing and elaborate camera movements alternate with scenes in which the importance of the dialogues allows a longer and less action - filled framing.

There's really nothing that pisses me off more in an action movie than when a director starts throwing these camera shots into the scenes all willy - nilly, which has the result of irritating me and making me, a guy who's quite comfortable on a small sea vessel in the middle of a harsh gale, seasick.

There are also some really great production featurettes, like the four - part production diary, «Pre-Fight Preparations,» a behind - the - scenes look at Russell Crowe's physical transformation into Braddock («Personal Journey»), and a cool featurette on the multi-angle filming of the movie's boxing sequences («Lights, Camera, Action»).

He is bloodthirsty, cruel, and remorseless — only displaying an ounce of personality in the brief glimpses of his face as he is in the process of swinging his sword toward a foe (Nispel's visual aesthetic of rapid cuts and handheld camera moves makes for disjointed action scenes, and it's close to intolerable watching through those worthless 3 - D glasses).

Bryan Singer and his team once again do a great job with camera work, visuals, and action scenes.

The camera lovingly films the action, as we get over-the-top violence scene after scene.

Beautifully scripted, the action scenes and miniature effects maintain a startling level of energy, and director Michael Curtiz balanced his camera so every supporting character is never forgotten during the film's multiple battle scenes within its two hour running time.

Highlights include Red Buttons's scene as a paratrooper who gets caught on a church steeple and can only watch the action below, some sweeping camera movements as the Allies attack a large building overlooking a bridge (I can't remember the name of the town) and a much better version of the blowing up of a bunker on the Normandy beach than the one in Saving Private Ryan.

Clydeside Colossus — Giant Glasgow industrial conglomerate William Beardmore and Co made ships railway engines aeroplanes airships motor cycles taxicabs... and as Bill Monro relates cars / Fort Dunlop Under Siege — Douglas Blain takes a close look at a manufacturing operation which is key to the survival of our hobby / Buying a Car For Restoration — Workshop / Sunbeam Tiger — Buyer's Guide / Goodwood Does It Again — David Venables reports on another successful Goodwood Festival of Speed / Austin Seven Ulster Rebuild / Loyd - Lord — Michael Worthington - Williams recounts how a conventional car from Chiswick strayed from the straight and narrow / Dollar Derby — The Editor enjoys a 3 1/2 litre Bentley that cost # 1460 new but once changed hands for a dollar / Racing Under The Bonnet — The camera of Alan Smith captures the action that matters behind the scenes in the early days of postwar British motor racing / MG Buyer's Guide — Part two of our special MG supplement / MG Buyers Guide — Part Two

Here's an excerpt from an early scene, in which Helen must reason with a New York councilman whose violent actions have been caught on a surveillance camera.

There are various shooting modes that control camera action, such as Smile, which waits for grins before shooting; Action to make panoramas of moving subjects; and Panorama to build wide saction, such as Smile, which waits for grins before shooting; Action to make panoramas of moving subjects; and Panorama to build wide sAction to make panoramas of moving subjects; and Panorama to build wide scenes.

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).

As with any Android - powered camera, users can adjust brightness and choose from various scene modes, including «action,» «night» and «sunset.»

A great mixture of boss battles, exploration, underwater delving and Rambi Rides await players with a new dynamic camera twisting the action packed scenes in ways we haven't seen before.

Frank's camera is also used to break the routine of mass - killing, alternating the action scenes with phases of investigation, in which we use the camera to find clues to solve the mystery behind the new outbreak.