Sentences with phrase «days of film cameras»

Tony followed some professional photography courses (that he paid for) online, but by and large is a self taught photographer (just as I am), who has been extremely passionate about taking pictures for more than twenty years now (he started out snapping back in the days of film cameras).

Not exact matches

In this modern day, anyone with a camera, a body, and an internet connection can create an adult movie, and a lot of them are pretty normal people just filming what they do normally.

The action was filmed with 18 3D motion capture cameras and 11 high - definition game day cameras to capture impacts from dozens of angles around the field with the goal to better understand the forces and motions that occur when a player receives an impact.

If technology is to be used to monitor and catch violations of the speed limits, it should be done in such a way that it applies equally to everyone (no cameras with film in one day a month).

In the days of film photography, one long exposure would do, but a digital camera can not easily record long exposures without buildup of electronic noise, which degrades the image.

The film was obviously shot in one day, but the cast and crew rehearsed for months to time their movements precisely with the flow of the camera while capturing the complex narrative, with elaborate costumes from different periods, and several trips out to the exterior of the museum.

Birdman or (The Unexpected Virtue of Ignorance) is a brilliant directed film by Alejandro González Iñárritu, who manipulates the camera to give the illusion that the film is one continuous long take (which can get dizzying at times) giving a film that is resonate to a modern day audience as it examins these fictitious characters and their commentary on what it means to stay relevant.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

They're also the kinds of places that Kormákur's camera loves, as embracing as he is of the modern - day action - film aesthetic of deliberate imperfection.

As the film began as a loose collection of scenes, many of which were originally shot for Lynch's website on a low - resolution camera, Lynch committed to making the film on digital cameras and wrote scripts daily in response to what had been filmed the day before.

The film starts with video surveillance public cameras filming a rather ordinary day at a busy market in London, at least until a truck full of explosives drives in and detonates, taking with it over 100 innocent people.

Cameras have been rolling for a good while on Marvel's still - untitled Avengers 4, with reports and leaked set photos seeming to confirm the film will travel back to the early days of Earth's Mightiest Heroes.

He's been behind the pen of Training Day, S.W.A.T., Dark Blue and Harsh Times, while stepping behind the camera for the latter film, as well as Street Kings.

He's been behind the pen of Training Day, S.W.A.T., Dark Blue and Harsh Times, while stepping behind the camera for the latter film,...

More immediately pertinent, it also adds further resonance to know that Kim Min - hee and Hong Sangsoo were themselves having an affair, which they eventually announced publicly (since On the Beach at Night Alone, she has appeared in two more of his films, The Day After and Claire's Camera).

An extensive selection of work from across the world is presented including the World Premieres of William English's HEATED GLOVES and THE HOST, in which director Miranda Pennell delves deeper into her past and her late parents» involvement with the Anglo Iranian Oil Company (BP); Ben Rivers» THE SKY TREMBLES AND THE EARTH IS AFRAID AND THE TWO EYES ARE NOT BROTHERS, the feature element of Ben's current Artangel installation at BBC White City; EVENT FOR A STAGE by Tacita Dean, a filmed presentation of her live theatrical happening in collaboration with actor Stephen Dillane at the 2014 Sydney Biennial; the European Premiere of Omer Fast's REMAINDER, a London - set thriller adapted from Tom McCarthy's acclaimed novel of the same name; the European Premiere of INVENTION which highlights the possibilities of camera movement and the development of artistic apparatus and Kevin Jerome Everson's PARK LANES, set in an American bowling alley over the course of a day.

While Hawke's other filmmaking endeavors (Chelsea Walls, The Hottest Scene) has been similarly produced outside of the big studios and with muted commercial prospects, he has retained star power on the opposite side of the camera with performances in big wide release films, from Training Day to Daybreakers to The Purge.

The accidental similarity, plain as day on paper, becomes even plainer on the screen: Minutes into the film, stage and cinema veteran Simon Axler (Al Pacino, himself a veteran of both Broadway and Hollywood) ambles out of his dressing room, the camera following close behind; gets locked out of the back entrance of the theater, and must come in through the front; and dramatically inflicts some violence upon himself before a shocked live audience.

Back in the day (2006, to be exact) we reported on Peter Weir signing up to direct the film with a William Broyles Jr script, and we guessed it would step before the cameras long before Weir's other planned project at the time, an adaptation of William Gibson's Pattern Recognition.

At the film's recent press day in Los Angeles, Waugh and stunt coordinator Lance Gilbert talked about their longtime friendship and professional relationship, what it was like growing up together on the sets of «Smokey and the Bandit,» «Vanishing Point,» «The Blues Brothers» and «Bullitt,» why Waugh considers Gilbert one of the best stunt coordinators in the world, the challenges they faced pulling off practical stunts and capturing amazing action sequences realistically in - camera without CGI enhancement, and the entertaining Easter eggs they included as a homage to the classic car - culture movies of another era.

To counter the common rap that he makes the same film over and over, The Day After, which competed for the Palme d'Or, is one of his most melancholic works, filmed in moody black and white, while Claire's Camera, shown out of competition, is its tonal opposite, a light and sunny divertissement shot on the fly during last year's Cannes.

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.

In An Epic Day With Richard Alpert a small camera crew follows actor Nestor Carbonell around on the season's last day of filmiDay With Richard Alpert a small camera crew follows actor Nestor Carbonell around on the season's last day of filmiday of filming.

This figure was the result of such senseless cost overruns as Wiseau's choice to buy rather than rent his cameras and lighting equipment and to shoot every scene both on 35 mm film and digital video, not to mention his propensity for showing up hours late to his own set every day.

Behind the camera is director Ryan Coogler, a black filmmaker who first burst onto the scene with Fruitvale Station, a film about the day in the life of a victim of a police shooting.

Portman's effort behind the camera yields one of the film's most forgettable segments in the story of an apparent manny (that's «male nanny», impressed women explain) enjoying a day in Central Park with a playful young girl.

We learned last month that Stan Lee had filmed four Marvel Studios cameos in a single day, but now we know who was behind the camera for the near - superhuman feat: «Guardians of the Galaxy Vol.

Two female - centric features took center stage for day 3 of MVFF, further bolstering the festival's women - in - film initiative with female talent both in front of and behind the camera.

That means a return to the days of yore, when filmmakers used film cameras and not digital.

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.

How the news camera and the documentary film recorded, broadcast, and then made a business of the day's news is examined in this rich, fascinating compilation of film clips set against the comments of journalists, cameramen, and historians.

The game will feature an animated duo exploring what looks to be ancient Egyptian ruins in the days of old film cameras.

To limit the amount of B&W film I was developing and printing every day, I started carrying a 35 mm camera with color slide film to the clubs.

Filmed with a high - speed camera at 240 frames per second, the work shrouds the bodies of passersby in darkness, extracting the slow - moving choreography from a typical day.

, 1976 traces Acconci's early actions and performances, including FOLLOWING PIECE (1969), in which he followed passers - by on the street until they entered private spaces — SHADOW - PLAY (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall — OPENINGS (1970), during which a camera focuses on Acconci's stomach as he pulls out his body hair, the film ends when Acconci is hairless — SEEDBED (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead — THE RED TAPES (1976 - 77), a three - part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language.

«120 Days and Nights of Staggering and Stammering: Installation shots (SLR film Cameras, Slides.

Along with his widely recognized works on paper and sculptures, Dzama offers a darkened room of eight dioramas and Lotus Eaters (2005), a silent film partially shot with a Fisher Price PixelVision toy video camera (transferred to DVD for the exhibition) and accompanied on certain days by live piano music.

[Insert The Times has published a feature about the film and the director, including the fun detail that Robert Stone, now 54, made his first movie, on the dawn of environmental consciousness, using his mother's Super 8 camera on the first Earth Day.]