Sentences with phrase «camera only shoots»

Each feature an f / 1.85 lens and a 13 megapixel sensor, but one camera only shoots in monochrome (black & white).

Not exact matches

The only camera shots that aren't traditional are those permeating from the video doorbell itself.

Back then I'd only ever had point - and - shoot cameras.

So I grabbed my camera and started shooting what pictures I can (the only downside to fall and the sun setting earlier and earlier).

i find real live models are best, even if only an eye is used in camera shot.

Even as the voices of young activists from Stoneman Douglas High, where 17 people were shot not two months ago, have sparked unprecedented national conversation, we can still only guess at their inner lives — or those of surviving parents — when the cameras are off.

And this 3 axis gimbal GoPro stabilizer only weighs 13 ounces, so whether you attach a GoPro, camera, or phone, you'll be filming in comfort, which means you'll get all the shots you need to make your project a success!

«Only in recent years have advances such as satellite telemetry and compact camera traps capable of taking high - quality night shots while surviving extreme low temperatures allowed scientists to begin to unravel the mysteries behind the snow leopard's life,» said Wildlife Conservation Society (WCS) scientist Dr. Stephane Ostrowski.

When we were brainstorming ideas for our next shoot, it only came naturally that Holli, a modern hippie at heart, would join me on the fun side of the camera, to help me show off some BohoCheri spring looks.

The only downside is that this time I was there sans photographer; so welcome back to the land of the point - and - shoot camera.

I noticed that haha its my camera lense cap totally forgot I placed it in my back pocket but it was the only back shot so had to go with it Thank you its really cosy and thanks gorgeous!

Not only is every frame artistically shot, his camera movements and cutting make TCM a powerhouse.

The only thing different is when the camera switches shots, it just focuses on the same couple again to rely more information, instead of a different couple like the old commercials.

Jackson shot in 48 fps in an attempt to capture a more lifelike image, but he's only succeeded in creating a visually awkward, uncomfortable, detached film designed to please only the technician behind the camera.

Being De Palma, the film is shot well, with trademark camera moves, angles, and expressive lighting, but that's really the only highlight.

An impressive achievement considering it was Lumet's first film, extremely well - written and superbly directed, with many elegant shots, fluid camera movements and a gripping plot that takes place entirely inside a room and is sustained only by a tense, smart dialogue.

The bigger cameras have forced Bay to step back and steady his shots more and that was basically the only complaints I ever had with the other two films as far as the action went.

Attempting to recreate the experience of watching a stage play, but with the camera roaming amongst its players, Hitchcock shot the movie in a series of ten - minute takes, a time period limited only by the length of a reel of film.

While several of the Angulo brothers have camera credits on The Wolfpack, this collaboration doesn't for the most part inform the filmmaking in any noticeable way, and only in these final moments, when under the credits we see a short film that Mukunda, now an aspiring filmmaker, shot with the help of his family, can they be seen to assert a style of their own onto the film.

Only the obvious ending of Marlene walking out when Petra promises to be better to her and Michael Ballhaus» sometimes imprecise camera movements (probably due to Fassbinder wanting to shoot it in 10 days, a usual feat even on location for him) are sour points.

It's a complicated shot with lots of motion, not only on behalf of the performers, but the camera as well — and it takes a few tries to get right.

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.

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.

Yet Harding's prowess on the ice — her spins and jumps sinuously shot, the camera keeping close, in perhaps the film's only display of finesse — would seem to be the least important metric.

The «Select Scenes Commentary with Sally Potter» is not an audio commentary track but a ten - minute featurette of Potter discussing a few elements of the film in detail, such as the scenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginning).

With its ambiguous ending, Tattoo seems to evoke François Truffaut's Les quatre cents coups (The 400 Blows, 1959), the legendary French New Wave film about another «troubled» teenager who experiences freedom only when he is in motion — whether while spinning in a rotor's drum or when running away from the reformatory in the film's famous concluding tracking shot that culminates in a zoom - in - on - freeze - frame image of his gaze addressing the camera.

We decided to shoot with only one camera, broken down to the bare bones of just one lens, and to shoot on film, as I always do.

Every shot (mostly full shots, with a few mediums and only a few well - chosen close - ups for punctuation) seems to have been planned with the camera in mind, so that the whole dance only exists as assembled on film.

Barring some fly - on - the - wall angles, elegant exterior shots by the brook or Julie's garden, and a couple of truly fantastic reflections of Julie against the window superimposed with the only escape out of the castle; Ullmann decides to keep her camera firmly pointed at the actors, in medium shot, reminiscent of her old mentor and friend Ingmar Bergman.

From the magic lantern - style innovation of his sculpture installation Six Men Getting Sick to the fixed camera placements of The Alphabet to the rudimentary narrative of The Grandmother (whose heavy's freakishly accentuated jawline transforms his countenance into that of a snarling villain in the «Perils of Pauline» mode) to, finally, the total aesthetic compromise of the shot - on - video The Amputee, the first few entries contained on «The Short Films of David Lynch» imply that there is only one destiny for the medium, whether its evolution is spread out over a century or concentrated in the time it takes for an artist to develop a conscience.

Much like the actor whose name he borrows, kitty Keanu makes an effortlessly expressive camera subject and requires no dialogue — only a nimble physicality and a series of cute, quizzical reaction shots — to thoroughly magnetize the screen.

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.

By the way, note that I've only just realized that my iPad 2 will film in «letterbox» format if I just turn off the locking mechanism on the side of the thing, so be aware that all future videos I shoot at the Drafthouse won't have this «camera - phone» look to them.

He keeps the camera tight, putting out long takes (well shot by DP Jim Shelton) and cutting only when it's for maximum effect.

Similarly, The World's End, which leaps into action only after its characters have imbibed a few pints, features brawls shot with swooning long takes that track a thrown punch a half - second too late, a delayed reaction that suggests the camera itself attempted the Golden Mile.

The movie was shot in the two - perf Techniscope format, meaning each frame of camera negative has only half the resolution of a CinemaScope (i.e., four - perf) frame, and this 1080p (MPEG - 4 / AVC) transfer, letterboxed to 2.35:1, seems to capture every last bit of visual information.

The camera generally remains static, with only the occasional, delicate pan to break up its long takes and shot / reverse shot patterns.

Moorhead's camera (he pulls double duty as cinematographer, just as Benson pulls double duty as screenwriter) shoots the Italian countryside beautifully, but sprinkles liberal bird's - eye flyover shots that manage to unsettle, hinting perhaps at something that only makes itself known from afar, otherwise hidden in plain sight.

SIGHTS: The amount of style allotted to the camera of Meek's Cutoff is thrifty — it seems to use only a couple of shots to cover an entire scene — but it's nonetheless precise.

In the movie's most pointed shot, Barber tracks a hearse as it passes through the graveyard, a flower arrangement reading GRANDDAD visible through its side window, a procession of cars following after it — but then the camera halts, and the cars pass to reveal Leonard's burial, attended only by Harry and the minister.

Shot like an early 2000's British single camera TV comedy, Oram's directorial debut is an off the wall journey about ape - like humans who run only on instinct, shitting on the floor, animated chickens, gender roles and the pain of losing someone.

Raimi's collaborator behind the camera was cinematographer Bill Pope, who at the time had shot only one other feature (1989's Death Doll), but = would go on to shoot the highly influential The Matrix trilogy (1999 — 2003), Raimi's three Spider - Man films, and several of Edgar Wright's films, including, most recently, Baby Driver (2017).

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

Aside from a bird's eye view of Manhattan at night in the film's opening moments, Greengrass permits himself to shoot only from camera positions that can be justified by the conceivable presence of a human observer — we never see the exterior of the plane once it's airborne, and the devastation of the Twin Towers is seen only from the remove of the Newark Airport control tower and the television screens in the various control rooms.

The movie is shot using some great new cameras only available in the film industry (for now).

Likewise, the VFX (Double Negative, Framestore, MPC, among others) strives for reality whenever possible, with everything in the foreground shot in camera and enhanced only when necessary.

And with Tom Hooper behind the camera shooting things in the most pedestrian way possible (a hallmark of his after films like The King's Speech and Les Miserables), only every now and then spicing things up with the way he frames Gerda painting from behind the canvas, there is not much to distract from the issues at the core of the film.

You also work out as many ways to shoot as humanly possible and go with only the most creative ideas, including employing several different builds of coffins that allow dramatic camera movements to communicate the protagonist's emotional state.

Reichardt had decided to shoot «Certain Women» on digital because she feared using film would cause a delay in dailies, but after seeing test footage of the movie shot in this format, specifically the way the digital camera picked up snow, she knew film would be the only way to go.

The techniques of Monroe and editor Paul Crowder invoke time - lapse photography, speed - change effects, handheld camera work, and the Jerry Bruckheimer principle that only a rare shot last longer than five seconds.