Sentences with phrase «camera around the character»

The player can also turn the camera around the characters, which allows for a 360 ° view of the surroundings.

Similarly; move the 3DS camera around the character until you come across an appropriate angle and screen position.

Not exact matches

Bay utilizes a 360 shot that has the camera slowly spin around one or more characters (usually the protagonists) as they come up from below frame.

Though the camera angles can get a bit iffy while controlling non-Mario characters, it's beyond worth it for the ability to fly around as a long - standing enemy of Mario.

Called «All the Bridges Rusting,» it centered around a character whose job was to be a «newstaper» — he travelled with a video camera on his shoulder and produced and published television news stories in something very close to real time.

The main character «R» has one special tool - a camera around her neck.

It is a style of filming that was no mistake (nor easy) as Zemeckis purposefully had the characters move around as the camera panned 360 degrees; giving an ultimate sense of reality and bringing the characters to life.

Never in a million years would I have guessed that the same filmmaker might turn around and make something like Tangerine, his punk - as - fuck portrait of a much seedier L.A.. It's not just a total creative 180, but kind of the opposite of a sell - out move: Trading a formulaic story for an unpredictable one and a slick Indiewood aesthetic for a gorgeous, radical lo - fi approach, Baker trains his iPhone camera on the kind of characters — black and transgender prostitutes, immigrant cabbies — that the movies rarely acknowledge, let alone put into starring roles.

Moreover, in what's arguably a more brazen case of cinematic larceny, director Daniel Espinosa, best - known for the 2012 thriller Safe House, swipes his anti-gravity stylistics from Alfonso Cuarón, opening the film with a single, very long, VFX - heavy take that sends the camera around in gentle swoops from character to floating character as the space station itself tumbles slowly around its axis.

Currently following a huge ape around with her camera in Skull Island and soon be seen wielding a firearm in Ben Wheatley's Free Fire, Brie Larson is used to playing characters that can go up against the very best of men.

Writer - director Nacho Vigalondo doesn't have a character running around «Open Windows» with a camera in his hand, but he does have one in the midst of a Skype - type call, another with an active iPhone camera, an abundance of security camera perspectives and more.

Rather than concentrating on what the characters have to say, the camera nonchalantly follows its subjects around and studies the expressions on their faces.

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.

Constructed around a few locations (including Stevens» own home for Anne's gilded prison) and a cast of four central characters and shot in an economical ten days, it is both a handsome production (shot by veteran, Oscar - nominated DP Ted McCord sometime between Treasure of the Sierra Madre and The Sound of Music, and camera operator Conrad Hall) and a visually evocative world taut with palpable tension and he orchestrates the quartet nicely.

The odd hybrid of small town soap opera and brutal crime thriller builds slowly — maybe a little too slowly for some — but director Richard Fleischer does an impressive job of weaving the stories and character around each other visually, with characters criss - crossing through scenes and Fleischer panning his camera to across the vast canvas to pick out threads of others stories.

The camera does take on the point - of - view of someone at some point, then jumps back to an objective place, then plays that trick Evil Dead II plays with perspective in the scene where Ash wakes up in a clearing and looks around in a panning 360 - degree take, only for the audience to discover that the camera eye is both character and commentator, more physical in its way than a first - person point - of - view could ever be.

The low frame rates give the illusion of 2D character assets, but then when the camera swings around characters for a cinematic attack of a finisher, it's shocking how detailed the 3D character models are.

The camera follows Riggan and the other characters, speeding around corners, gliding down hallways, circling the principals — all without apparent edits.

Both films cradle the richest poetry of a longing glance or a well - told joke, with the camera itself acting as a kind of spiritual guide, closing in around the characters and placing them in new and revealing positions.

At the recent press day, Core, Ramirez, Bracey, wingsuit stunt pilot Jeb Corliss, professional free climber Chris Sharma, Alcon producers Andrew A. Kosove and Broderick Johnson, and 2nd unit director Philip Boston talked about how they went about creating the ultimate sports movie, how the actors viewed their characters and built the bro - mance, the challenges of coordinating a production that shot around the world in 11 countries and on 4 continents, why all the 2nd unit work was shot prior to the first unit work, why vision and authenticity were paramount, why the imagination, energy and focus required to shoot a film in camera is much greater than when visual effects are used everywhere, and why it took courage to make this film.

Penelope Houston cited the opening scenes of The Bride Wore Black in summarising the Hitchcock connection with Moreau's character: «In the opening sequence, she is unmistakably playing Marnie: the half - packed suitcase, the neat little piles of bank notes, the doleful parting from mother and sister, and the moment when, having sadly boarded the train on one side, she ducks briskly down on the other and marches back along the platform (Marnie camera angles all around) on her errand of vengeance.»

On The Dark Knight, Ledger wasn't jumping around in character once the cameras stopped, but instead would sit down and talk with cast and crew of his daughter and the filming techniques on the shoot.

The cinematography's fluid and dynamic moving camera complements the supernatural theme, revolving in elegant ballerina - like turns around characters and swooping round others to emulate the comings and goings of Ofeig the ghost himself.

The fact that this all happens while its lead characters spend most of the time sitting around and talking is an achievement of its own, but while Howard may be the one calling the shots, it's the people in front of the camera (namely, Frank Langella and Michael Sheen) that make «Frost / Nixon» one of the absolute must - see films of the year.

Fortunately, the camera will linger on physical emotions as the characters roam around skyscraper offices and elegant modern apartments.

According to David Yates, the director of the final four «Potter» movies, there was a similar sort of aura around Rickman on the set when he wore the black robes and sour scowl of his character even when the cameras weren't rolling.

It's still unknown whether Olyphant will be playing a fictional character or one of the real - life figures the camera will be following around during the summer prior to the Sharon Tate murder at the hands of Charles Manson's followers.

When these grubby characters are indoors and relatively stationary, the camera tends to weave intricate arabesques around them, all but spelling out the allegorical spiderweb that the offscreen narrator evokes when describing the ties between these people.

She had a coming out doubleheader at this year's Sundance Film Festival where she was the star of two of its most buzzed about films: Martha Marcy May Marlene, in which she plays a girl who escapes from a cult, and Silent House a film that uses a single camera shot to follow her character, a terrified girl descending into madness, around an abandoned summer house.

Hitchcock had to work around the strictures of the Hollywood Production Code, which limited what could be said on camera; literature was freer in those years, giving Highsmith the opportunity to more fully explore the depravity of her characters.

Many of his characters are also emotionally constrained in their outlook on the world — each story is the narrator's own vision of the world around him or her, telling what he or she sees as through the eye of a single - lens camera.

Once you select the character of your choice, they appear on the camera app placed over the real world surrounding around you.

An all - new feature to the PS4 release is the character gallery which includes the character's name, a detailed biography of the character and a picture of the character with a total of 33 characters which are unlocked as the player progresses through the story, although it is an excellent feature it would have been even better if instead of a still picture; there would have been a fully 3D character model with a camera which could rotate around the character and zoom in or out, alongside some of each character's most humorous dialogue.

As it uses the card to see the relationship between the card's position and the camera, you can actually move the camera around the card to view the character from different directions, and can also take photos.

If you join an online multiplayer match that is already in progress or when your character has been overrun and killed by Zeds; the camera switches to a third - person spectator view which can be rotated around the player in focus, while a first - person perspective and a free camera is also available to view any of the action happening elsewhere in the match from the focus point of any player.

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.

- get Public Works tasks from Isabelle - early on you'll have to build a school - choose the outside look from a selection of options then work on the inside - inside includes work on benches, lockers, tables and more - later you'll work on a hospital, cafe, a shop and more - the hospital tasks you with working on multiple rooms - use the stylus to drag and drop items into the playing field - tap the object to change the perspective and move them all easily to somewhere on the grid - drag the characters around as well - tapping on the D - Pad lets you change the camera angle - move around with the Circle Pad and interact with others by pressing the A-button - the plaza is where old and new animals are gathered - a speech bubble above a head denotes requests - once you've wrapped up the development of a property, a scene will play where the animals interact with the property - animals will say specific things when they are in stores / school or comment on things that are placed around the house - throw in your own favorite characters by purchasing amiibo cards - scan them and they will enter the house or scene - cards also give requests from characters before you even meet them in the game - some characters are exclusive to the cards - put data back on the card and give that information to the friend

The main character «R» has one special tool: a camera around her neck.

(Some of the moves require pressing a button plus direction, and there can be a disconnect between what you think you're hitting and what the game reads you as hitting as both your character and the camera are moving around).

Takes a bit of moving around of the character and camera, but eventually you get the wanted item.

By default, the camera follows the characters around fairly well, and if things get in the way, they go nicely transparent.

When you do choose a character, instead of moving them around on a grid with a cursor, the camera will zoom to a third person view and just as long as you have the AP (in basic foolproof terms: stamina) to do so, you get to freely move about the chosen character as if you're playing a shooter.

Bayonetta centers around emphasizing the titular character's sultry nature through mannerisms, appearance, camera angles during cut scenes, and even the way she engages in combat.

Not funny, not the «mature» content promised, awfully designed levels making it very difficult to get anywhere, and a terrible trailing camera makes every turn of the character send the camera soaring around and throwing off the control of the character.

Movement is at the core of most games, whether you're moving a character around or controlling the camera.

When the game opens up a little environment that the player can walk around in and interact, that playstyle should warrant the kinds of camera and character controls we've come to expect.

The game not only includes English voiceovers (have a listen in the video below), but will also add in graphical enhancements, better menus, a harder difficulty level, a new camera mode to play around with, as well as improved camera and character movement.

Currently, the game is around 10 % complete and features a «3rd person camera, character animation, basic platforming and edge grabbing \ climbing.»

Unlike a 3D fighter like Soul Calibur, where the characters are always focused on one another, the fighters here move around so freely that oftentimes, when trying to perform a combo, the first move will hit your opponent and then your character will just keep going past them attacking the air, with the camera trying desperately to keep up with your character.

Instead of putting you inside of the labyrinth from the first - person perspective of the titular character, you'll be set at fixed camera angles and over his shoulder at times, with the ability to look around using your own head.