Sentences with phrase «camera moves through»

The camera moves through the simulation like a nature documentarian, uncertain as to what in the frame is truly of interest, hedging on every emergent story.

Certain aspects of Flightplan are unashamedly reminiscent of David Fincher's brilliant thriller — from the strong, inexorable maternal heroine to the «impossible» camera moves through the interior of the plane.

As the camera moves through the crowd, the audience alternates between being the pursued and the pursuer.

Certain aspects of Flightplan are unashamedly reminiscent of David Fincher's brilliant thriller — from the strong, inexorable maternal heroine to the «impossible» camera moves through the Continue reading Flightplan →

The fact is, there isn't much life on the page, so Zemeckis tries to concoct some with swirling, impossible computer - generated camera moves through windows and sand storms and from the skies above, all as Alan Silvestri's intrusive and sentimental score tries to stir up some feeling.

Directionality is emphasized throughout, with dialogue travelling across the front speakers as the roving camera moves through a scene.

Not exact matches

Moving freely with that unmistakable beat, people feel, if even for 30 seconds in front of a camera, that they are alive and not sleepwalking through their day.

«What we've seen through technological changes, the shift from film to video opened up a lot of opportunities for women to move behind the camera,» she said.

A native of the Southern Tier, Amy began using her mom's video camera at an early age to tell stories through moving images.

Reporters and cameras followed Bharara from event to event, scrutinizing his every move and watching the rare swim of a shark through his feeding ground.

Zweben and co-authors performed computational analysis of the data from the camera, determining the correlations between different regions of the frames as the turbulent eddies moved through them.

For example, turn on your digital camera to snap a picture of the setting sun and photons flying in through the lens make electrons move out from semiconductors located where the film would be in conventional cameras.

This data would be detected through the device camera and used to identify the type of room as the user moves around the space.

In this image, the simulator is viewed through a polarized camera lens, photo - elastic plates reveal discrete points of stress buildup along both sides of the modeled fault as the far (upper) plate is moved laterally along the fault.

Using a special camera, physicians then observe how well the radioactive material moves through the blood vessels supplying the heart.

Seeing them move through the room with the camera to get exciting angles of the dancers working was awesome.

Arteta moves the camera through Kathy and Grant's Spanish colonial estate with sinuous skill, wittily framing Beatriz in ways that bring Japanese horror films to mind.

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.

She has to decide then and there whether to publish, and as the camera moves in slowly, her face goes through a series of subtle contortions, reflecting a lifetime of anxiety, ambivalence, neglect, and pent - up rebellion, and finally she says, in a rush, as if disgorging it all, «Let's go, let's go, let's publish.»

Dear god, i was ready to pull my own teeth with the slow crawl through the gloomy landscape, desperately tapping the other buttons that made the camera zoom in, so that i could temporarily make it seem like i was moving faster.

The Orphanage's Juan Antonio Bayona directs the opening episodes, his camera constantly moving through London's streets, always picking out new shadows to explore.

A tower defence title, you use the GamePad to move through different cameras in order to ID and eliminate enemies.

And you think about it in terms of movement through time but also movement of the camera and how they move within the frame.

It's your usual assortment of production anecdotes, but Wynorski is pretty good at screen - specific observation, cluing us in on which shots required the most work behind the scenes — like the tracking shot through the furniture store that forced stagehands to move furniture into place and stay out of frame as the camera rolled backwards through the set.

Armed assassins charge through the labyrinthine catacombs of Rome and hunt our titular hero in subway stations below New York while the camera communicates every slick move with pointed precision.

Shyamalan pulls out one ingenious camera move after another with the help of Michael Gioulakis, the cinematographer of It Follows, echoing Split's subterranean setting and subconscious concerns through creative and formalist thrills.

The film also proposes a dual gaze through the visual juxtaposition of action versus immobility, as when a long take films the protagonists stationary whilst indistinguishable bodies hurriedly move past the camera, creating flashes of movement.

for me I still play mario 64 now as we speak, It's stil very unique concept think about it, jumping through paintings in the love of your lifes houses who has cameras follow there moves to observe marios moves that was interesting, Galaxy is pretty far out there.

Fassbinder and production designer Kurt Raab create a near future out of modern architecture (some of it still under construction), gangster - movie fashions, futuristic bric - a-brac, and more glass and mirrors than a carnival funhouse, and his camera is constantly reframing, moving around for a better look, or simply tracking through the increasingly alienated world of his reluctant hero.

We can not know for certain why he chose certain angles or options, but we can consider Fincher's other work, and what we find is a director that moves through space with his camera and allows his actors to move in space.

Through a combination of genuinely funny writing, performances both sharp and sweet, and fine cinematic camera moves and editing flourishes, the movie wins both your heart and mind.

Sometimes his camera pans through the diorama - like sets, and once or twice he tows his figures along as if they're on a moving walkway.

It's a great looking game — you can even see Donkey Kong's fur, which moves around as he swooshes through the levels, and there's some brilliant dynamic camera work which really adds to the look and feel of the game; it feels like much more of a 3D world than a simple 2.5 D platformer.

As the story unfolds, and evolves from that of John Smith to John Rolfe (Christian Bale), it never loses its dreamlike aesthetic, conveyed through Lubezki's always - moving camera, but also through characters who say more in narration than they do in dialogue.

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.

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.

While Colin and his new border Tom (Donal Donally) push Colin's new brass bed home through the streets of London (which Lester shoots with a «candid camera» technique to elicit surprised reactions from unsuspecting onlookers) they «pick - up» Nancy, but Tolen moves in for the make while Colin chokes on small talk.

Adler and his cinematographer Gregory Middleton chose to film much of the sequences using full - body shots, the camera moving with the dancers, giving us a chance to see the dancers in action, moving through space.

The final shot alone is enough evidence to the film's strengths in the powerful juxtaposition that it creates through the way the camera slowly moves over the characters to strategically group them through framing.

The films opens with the bear running at the camera before we cut to a man jolting awake; we see the fiery ursine figure again later from above, running through the forest, before cutting to a line of firefighters moving through a burnt - out section of woods.

Potter's smoothly roaming camera carries us through the gathering much as an unseen guest might move through the increasingly awkward situation.

Realizing that they are trapped in their room with hidden cameras now aimed at them filming their every move, David and Amy desperately find a means of escape through locked doors, crawlspaces and underground tunnels before they too become the newest stars of the mystery filmmaker's next cult classic!

Coming into any sequel blindly can make that experience tough to sit through without getting too confused or losing interest; fortunately because this is a feel - good movie and the ensemble cast has strong chemistry — it wouldn't surprise me one bit if half the time Terrence Howard isn't even in character while cameras are rolling — the story actually moves along at a comfortable pace, enough to make certain loose ends easy to ignore (again, if you're coming in without seeing the original).

Their meals are rationed, and their every move is monitored through video cameras and police agents.

He literally moves the camera, he dictates the structure of the story through narration, he is the lead character.

One that is particularly arresting, an over two - minute - long single take, shows Andrei and Sergei moving through soggy wooded terrain on a hunting party and involves unpredictable, rapid camera movements — up and down, back and forth — and a jumpy retreat during an intense confrontation between the two characters.

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.

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.

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).

Cagney's a great actor, of course, but both he and Day seemed totally lacking in energy, as did the direction by Charles Vidor — I swear there were only two camera setups through the first 30 + minutes of he film: Day on stage in a flat composition in front of musicians and a solid color backdrop with neither camera nor actors moving much at all and Day and Cagney in her dressing room arguing about something.