Sentences with phrase «camera effects on»

There's a screen - based Facebook Stories app that overlays camera effects on your selfies, for one.

Exclusively using analogue technologies, live - action footage, early computer graphics, stop - motion animation and in - camera effects on 16 mm films, Beckman's work is a carefully designed collage reminiscent of the 70s Structuralist filmmaking and the 80s No Wave cinema.

Not exact matches

On the flip side, Samsung caught up to last year's iPhone 7 Plus by adding a second camera to the back of the new Note that adds an optical zoom and can create a blurred background effect.

The Judicial Conference of the United States has previously attributed the ban on cameras in federal courts to the «intimidating effect of cameras on some witnesses and jurors.»

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)!!!

VISIT ALL NEW HUMAN EXPERIMENTATIONS IN 2012 http://notethicsbutbutchery.blogspot.com/ LEARN WHO (and why) IS DELIBERATELY TARGETING YOU WITH MIND CONTROL WEAPONS WHILE TURNING IN MINDLESS PROTESTERS AND WITH WHAT EXACTLY ARE ORWELLIAN GOVERNMENTS US CONGRESS ALIKE WORLDWIDE SOOO BUSY WITH (USSR # 2 alike governments which consists of lawyers or what are liars, physicians / doctors and family members of effected individuals which suffered some sort of brain desease etc.... Why lawyers!!? So crime per physicians OR WHAT IS HUMAN EXPERIMENTATION can get away with it) WHEN PLAYING / CLOWNING (acting) IN FRONT OF CAMERAS ONLY HOW SOMETHING HAVE TO BE DONE... 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 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.

Liverpool fans did it to great effect, and all the TV cameras focused on them, and it was headline news.

People without an AV feature on the cameras don't despair — I will explain shortly how you can achieve the same effect using your compact cameras too!

I love having editing and effects features right on the camera.

«Among other things, we wanted to ask the first minister on camera about the effect of the Trump golf course development on local residents, including a 90 - year - old woman who hasn't had a proper water supply for four years, and about what happened to the 6,000 jobs his government promised when approving the development.»

The on topic Q&A included redesign plans for other streets, especially Queens Boulevard, why the administration attributes the reduction in pedestrian fatalities to Vision Zero and not to regular year - to - year variances, how the administration actually knows that driving speeds are reduced, why so few street redesign projects have been done on Staten Island, data for any changes in safety at this E.Tremont / Silver Street intersection, why Commissioner Bratton did not attend, why there are few speeding and failure to yield tickets issued in this (45th) precinct, the negative effect of speed bumps on emergency response vehicles, plans for marking and painting of roads, whether the mayor will seek additional red light camera authorizations from the state legislature, the paucity of criminal prosecutions against drivers who kill pedestrians and an estimate of money received from speed camera tickets.

«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.»

How rare is it that the effects of an event like this were captured on camera?

If the server decides that there are objects with geographic coordinates that fall within the camera's field of view, it superimposes these objects on the picture from the phone camera, in a fashion similar to the way the director of a science fiction movie might use special effects to add a spacecraft to a filmed scene.

The glasses - free model relied on an eye - tracking camera system that delivered separate images to each eye, creating a 3D effect in the brain.

It is a difficult effect to capture on camera.

Endless fast cuts complete with whooshy sound effects, thumping techno bass lines, ugly on - screen graphics, garish colour filters, and * cringe * a hero who talks directly to camera (Michael Caine is STILL the only actor to EVER get away with that...) Every tacky, irritating and superficial MTV affectation is on display here, in an unbelievably lame attempt to make an american rip - off of a Guy Ritchie heist movie.

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.

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.

Heads up, Facebook users: a special camera effect is now available in Facebook Camera, based on Pikachu's Z -camera effect is now available in Facebook Camera, based on Pikachu's Z -Camera, based on Pikachu's Z - Move.

A lot in the way this film was shot, with this speed and the high stakes and the technicalities and the dependency on each other and the, also the effects, you know the props and things, the cameras, the lighting and the removing of tables and putting them back, you know all those things sort of created this high level intensity and pressure that felt sort of emblematic sort of how it feels on the stage.»

The Hurt Locker uses handheld cameras in a way that enhances the effect of the visuals on screen, whereas Green Zone uses the technique to make an unwatchable mess.

The camera generally stays on her or at her level / perspective too creating a film that is all about Maisie and the effects her parents» pettiness and selfishness is having on her.

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.

2) create a Story - line of Memories in a Comic Book Style Creation App inside the AC: HHD game select one of the rooms you designed to create the story - line in, invite the animals you want with Amiibo cards (or a shuffle of random animals if you don't own cards), select your Comic Book page's format & Layout, position and pose yourself and the animals and make them hold one of the unlocked expressions, take picture with the unlocked moving camera and add it in a panel order to your comic book layout, add AC styled dialogue boxes, colorful text and graphic design sound effects, change panel border style, and even draw on top.

We find notes from director Peter Jackson, extras wrangler Josie Leckie, director of photography Andrew Lesnie, camera operator Richard Bluck, armour weapons standby John Harding, greens master Brian Massey, co-producer Rick Porras, designer / sculptor Daniel Falconer, senior machinist / engineer Dominic Taylor, animation supervisor Randall William Cook, stunt performer Steve Reinsfield, extras casting Miranda Rivers and Victoria Cole, painter Brett Larsen, carpenters Geoff Goss and Ross Hoby, supervising unit location manager Richard Sharkey, 2nd AD Marc Ashton, stunt performers Mana Davis and Sala Baker, 2nd unit director Geoff Murphy, boom operators Eoin Cox and Corrin Ellingford, on set art director Simon Bright, camera operator Peter McCaffrey, motion control operator Henk Prins, previsualisation supervisor Christian Rivers, digital surveyor Nick Booth, stable foreman Lee Somervell, gaffer David Brown, set finishing supervisor Kerry Dunn, on set art director Joe Bleakley, effects technician Peter Zivkovic, on set prosthetics makeup Tami Lane, 3rd AD Chris Husson, Weta Workshop's Richard Taylor, effects technicians Darryl Richards and Scott Harens, stunt rigger Paul Shapcott, New Zealand stunt coordinator Kirk Maxwell, swordmaster Bob Anderson, medic and safety officer Andy Buckley, supervising art director Dan Hennah, conceptual artist Alan Lee, Gimli scale double Brett Beattie, and actors Dominic Monaghan, Billy Boyd, Andy Serkis, Bernard Hill, Brad Dourif, Elijah Wood, Orlando Bloom, Sean Astin, Miranda Otto, and Viggo Mortensen.

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.

What effect do you think that will have on Hollywood in terms of opportunities for AfricanAmericans in front of and behind the camera?

Though the strong work of Sandra Bullock and George Clooney — the only two actors who appear on camera — is essential to what the film accomplishes, the great lure of «Gravity» is the way director Alfonso Cuarón, cinematographer Emmanuel Lubezki and visual effects supervisor Tim Webber have collaborated to make us feel we're stranded in outer space ourselves, no questions asked.

Based on a true story adapted from H.G. Bissinger's book, «Friday Night Lights: A Town, A Dream and a Team», director and co-screenwriter Peter Berg (Very Bad Things, The Rundown) uses shaky camera work to give the effect of realism, mixed with a stylized delivery of high school football action that takes this simple small - town story and makes it feel important, like Hoosiers for football fans.

Despite the amazing set - pieces (and they are amazing — more on that in tonight's article), Hooper keeps the camera fixed on the singers» faces, letting each emotion run its course, so the audience is given the full effect of the song.

We had to work out how to film it, so we worked on some camera technology that had been used on helicopters before and handed that over to special effects supervisor Dom Tuohy, who built a really cool rig to film it.

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.

The narrower ratio is employed on scenes shot with IMAX cameras to utilize the higher resolution of that format, sometimes to great effect.

Among other anecdata, the director explains how working on location restricts the mobility of the camera, points out the film's trickiest special - effects work, and reveals his own personal beliefs about the nature of life after death.

Shot on digital cameras, the film looks so clean and sharp it shows up the cheap costumes, props and effects and lessens the visual splendour of Jodorowsky's imagery.

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.

The 5.1 DTS - HD master audio mix is full of aggressive and impactful effects above and beyond what teenagers relying on the sound from consumer cameras should secure.

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.

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.

Even Altman's practice of shooting much of his action with two cameras can be linked to Renoir's TV - inspired use of multiple cameras in the late 1950s, while his tendency to keep these cameras moving (resulting in a prowling effect that harks back to The Long Goodbye) adds to the Renoir - like feeling that more is going on in this fictional world than one could possibly encompass.

Dir Dario Argento (Leigh McCloskey, Irene Miracle, Alida Valli, Daria Nicolodi) Horror cinema at its most baroque: a simple libretto is embroidered with elaborate, flowing camera movements, abstract blocks of colour, unsettling sound effects and soundtrack composer Keith Emerson's thunderous rock variations on Verdi.

«I'm completely internalized in terms of makeup or effects, creatures, visual effects and camera work, it's completely second nature on my sets, so I try to make it very simple for my actors,» Del Toro says.

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.

Did we not want a supernatural tale that feels undeniably human and that satiates, via convincing special effects and odd camera placements, our morbid curiosity for what on the surface appears to be demons rising from the underworld?

These 1 - 3 minute shorts profile Aaron Eckhart's character, lead military advisor Jim Dever, incorporating aliens into the camera movement, the fake Marines» camaraderie, Michelle Rodriguez's character, practical aliens used on set, a gas station explosion, alien visual effects, the existence of aliens, and alien ship design.

The camera, the design (Gerald Sullivan), the editing (David Trachtenberg) are always doing stuff — there are always oddball flourishes like sudden camera tilts or exaggerated symmetries (it's almost superfluous these days comparing such effects to Wes Anderson, they're so much part of the landscape) and little comic riffs, like the photo of Hugh Jackman on Rachel's wall, which suddenly lectures Greg in the actual voice of Hugh Jackman.

(Leo McCarey, 1958) Reel 30b01 — Positano (Pierre Clémenti, 1969) Right Now, Wrong Then (Hong Sangsoo, 2015) Rio das Mortes (R. W. Fassbinder, 1971) Rak ti Khon Kaen (Cemetery of Splendour, Apichatpong Weerasethakul, 2015) Sag es mir Dienstag (Astrid Ofner, 2007) Shrimp Boat Log (2006 - 2010), So Sure of Nowhere Buying Times to Come (2010), David Gatten Schwitzkasten (John Cook, 1978) Shift (1972 - 1974), Still (1969 - 1971), Ernie Gehr Sisters (1973), Raising Cain (1992), Brian de Palma Smorgasbord (Jerry Lewis, 1983) Spain (Beryl Sokoloff, 1962) Spin (Hannes Schüpbach, 2001) Stella Dallas (King Vidor, 1937) Still Light (1970/2001), Sotiros (1976-1978/1996), Robert Beavers Suspicion (1941), Rope (1948), Alfred Hitchcock The Black Cat (Edgar G. Ulmer, 1934) The Effect of Gamma Rays on Man - in - the - Moon Marigolds (Paul Newman, 1972) Outer Space (2000), The Exquisite Corpus (2015), Peter Tscherkassky The Seventh Victim (Mark Robson, 1943) The Thoughts That Once We Had (Thom Andersen, 2015) The Throw 1 (2006), Eye Eclipse (2007), Fried Egg (2008), The Initiate (2008), Fruit Polyhedron (2009), Hand, Smaller than Hand (2009), The Soup (2009), Cassowary (2010), Pot Smaller than Pot (2010), Spaghetti Tornado (2010), Benguelino putting a spell on the camera (2011), Bread, Tea and Bao Game (2011), Donkey (2011), Dream of a Ray Fish (2011), Getting into bed (2011), The horse of the prophet (2011), The Unparticled Man (2011), Under a Car (2011), Wave (2011), Wheels (2011), Darwin's Apple, Newton's Monkey (2012), Placing the Fisheye (2012), Those animals that, at a distance, resemble flies (2012), Triangles and Squares (2013), Water Mill (2012), Proboscis (2013), João Maria Gusmão & Pedro Paiva Thorndon (1975), Napkins (1975), Aberhart's House (1976), Johana Margaret Paul Three Films from the Room (Peter Todd, 2015) Tortured Dust (Stan Brakhage, 1984) Trixi (Stephen Dwoskin, 1969) Twin Peaks (1990), Fire, Walk with Me (1992), David Lynch Viaggio in Italia (Roberto Rossellini, 1954) Vivir para vivir (Laida Lertxundi, 2015) Yolanda and the Thief (1945), An American in Paris (1951), The Bad and the Beautiful (1952), The Cobweb (1955), The Courtship of Eddie's Father (1963), The Sandpiper (1965), Vincente Minnelli Zanj Revolution (Tariq Teguia, 2013)

There's also a separate 10 - minute featurette on the film's green - screen special effects work (one gets to fully appreciate the imaginative nature of a ceiling - mounted spinning camera), a trailer, and a scrollable «concepts gallery.»