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.
Not exact matches
And the director keeps the
camera moving because that, too, is «
cinematic.»
By focusing on fighting from a 2D perspective Namco and ArcSys allow the hallmarks of the series to shine, with flashy special
moves and
cinematic camera angles all designed to wring every last drop of nostalgia from Dragon Ball fans — with those same scenes so well crafted that they might even imprint on first - timers in the same way the original show did.
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.
You look on at an overheard grid and
move units about the map, and the
camera swoops onto the battlefield to give you a
cinematic 3D perspective of the unfolding battle.
Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a
cinematic frame) and fluid (his
camera moves with purpose and grace) are in the service of the trajectories of the characters.
Take, for example, the strange case of the game's
cinematics; they appear to be full rendered 3D scenes with the
camera moving around the environment, swooping in to a council made up of various races, headed by one Ivan, a leader seeking to take inspiration from tales of old heroes.
Using either a DUALSHOCK 3 wireless controller or the PlayStation
Move motion controller players have access to a wide range of physical assaults and katana attacks, with each bout tracked by a dynamic
camera that showcases the game's stunning visuals and
cinematic fight sequences.
Various
moves will see the brawl switch a quick
cinematic - style
camera view to properly frame the action against the 3D backdrop.
You can also adjust the frequency of follow
cameras for when you are
moving, as well as when
cinematic attack
cameras will occur.
EM: Perspective wise, we watch the game from above the characters, and I notice in some of the early gameplay that
cameras would shift quite a bit while
moving between areas, so what do you see as the key to smooth transitions in
cinematic play?
Cinematic distortions resulting from quick
camera pans, rapidly
moving objects and special effects yield forms that are specific, yet just beyond the grasp of recognition.
They are well known for constructing subjective databases of narrative material and making fragmentary miniature film sets with lights, video
cameras, and
moving sculptural elements to create live
cinematic events.
Moving on to exclusive features of the PS4 version, we see the battle system, which includes two different styles: the free movement mode that lets characters
move freely around the battlefield, and the auto
camera battle that gives the turn - based fights a more
cinematic look.
After that, we see a boss battle using the «automatic
camera battle mode,» that removes the ability to
move away, but shows combat from a more
cinematic perspective.