Sentences with phrase «effects sequences where»

Not exact matches

3 See PR 98, where Whitehead uses the term «chair - image» to stand for the effect of a sequence of physical causes.

Using a «gnotobiotic mouse model» — where mice were «colonized with a synthetic human gut microbiota composed of fully sequenced commensal bacteria» — Desai et al reported on the effects of different diets with different fibre content.

Similarly, Fellaini looked as influential as he did during United's previous best run under Van Gaal where they beat Tottenham Hotspur, Liverpool and Manchester City in a six - game sequence of consecutive wins last season, during which the Belgian was used to bully opposing right - backs and midfielders to great effect.

Nature's poll also gauged where the sequence has had the greatest effect on the science itself.

By better understanding the limitations of genome - wide sequencing, Vogelstein notes, researchers and policymakers might be better able to direct funding and efforts to areas, such as Alzheimer's disease, where a person's genetic profile might have a very real effect on their likelihood of getting the disease.

The sequencing data was sent to Georgia Tech, where doctoral student Maria Juliana Soto - Girón matched the sequences against known bacteria — and genes that have known effects, such as virulence and antibiotic resistance.

identify where the impacts of acidification on Mediterranean waters will be more significant, taking into account the sequence of causes and effects, from ocean chemistry through marine biology to socio - economic costs.

To guarantee that the observed effects on grammaticality were not confounded by serial processing, we additionally estimated a refined model at the subject - level where ungrammatical sequences only consisted of correctly - responded category violations at positions B2 and B3post hoc.

The sequences where Aykroyd gets his teeth capped and the fight against the «Rancor» type monster in the finale are fantastic examples of bad / good effects.

There are also a few action sequences where score and effects flare.

In analysing the dynamics of (mis) perception that allow sequences of images to be viewed as comic narratives — asking, in effect, just who or what we think we're laughing at — the articles assembled here hopefully shed some light on the contested ground where ethics and aesthetics meet.

But Warner sold the movie as all - out horror, announcing in a preposterous but extremely effective advertising campaign that «during the last eight minutes of this picture the theatre will be darkened to the legal limit to heighten the terror of the breathtaking climax... If there are sections where smoking is permitted those patrons are respectfully requested not to jar the effect by lighting up during this sequence.»

There's some rough, maybe intentionally crude effects or CGI at one point of the action sequences near the end where a cabin explodes.

The best moments of The Return of the King are those where Jackson's mad imagination runs riot: an Uruk - hai captain that looks like Charles Laughton's hunchback; a battlefield amuck with war elephants («mumaks» in the vernacular) that recalls the desperation of the Hoth sequence of The Empire Strikes Back (itself a landmark of special effects for its time); and a glimpse at some of the ornaments of spider Shelob's lair and various orcan armor that pings off Robert A. Burns's delirious set design for Tobe Hooper's The Texas Chain Saw Massacre.

A practical effect], or the fight sequences where we actually see Batman beat down hordes of the ungodly with surprising ease — and savagery; while we could talk about superb performances [Christian Bale, Aaron Eckhart, Gary Oldman and the rest cast are all in top form] or debate the questions raised by the film for hours, and / or the film's achievement purely on an entertainment level, what makes it a masterpiece is that it is all of these things and more.

The effects team took a research trip with the crew and went whitewater rafting, capturing video footage to use as reference for a big sequence where Arlo gets carried downriver.

Sequences where Stevens meets Bishe during their nightly rendezvous are steeped in deep amber light speckled by rigid shadows, the pronounced effect producing a German Expressionism vibe, especially considering the film's undertones as a fable.

Extravagant special effects are taken for granted in superhero movies, but Ant - Man has enough imagination to make them seem both fun and necessary, whether it's during a scene where the shrunken Lang finds himself dodging Lucite heels on a dance floor or in a psychedelic, space - folding sequence set in the Microverse, the dimension of the sub-atomically small.

Various effects crew members from all three films breakdown how certain sequences where handled.

Now, here comes Solo: A Star Wars Story, and it's a refreshing blast, as it rides a wave of gripping action sequences where digital effects never overshadow the earthy world of practical effects in a script that isn't bloated with too many characters.

Where Twilight was filled with awful special effects, New Moon manages at least to get by with some nifty action sequences.

Where he needs more work as a feature - film director is in sequencing and connectivity; The Lazarus Effect collapses under the sheer amount of ideas or concepts that play out in stunted progression, or are outright jilted by the forward movement of the film.

Problem is, even the action sequences don't particularly feel real — particularly in 3 - D, where the special effects on the vampires» eyeballs look distractingly transparent and unfinished.

The climactic battle sequences occur on that beautiful planet and it's here where the story's potential takes full effect.

This is sometimes used to great effect, as in the opening sequence where we follow James at the tail end of another night of heavy drinking right into his awkward appearance at his father's wake.

Where X-Men: Apocalypse shines the brightest is in its action sequences and CGI effects.

Disc two is where a majority of the extras can be found, including 18 - minutes of deleted and extended scenes (as well as an alternate ending where Matthew McConaughey's character doesn't get away), four different production featurettes ranging from the making of the opening battle sequence («The Hot LZ») to special effects («Blowing Shit Up») and production design («Designing the Thunder»), and a cast featurette made up almost entirely of behind - the - scenes antics.

Epistatic effects are at their most dramatic in mixed breed dogs where, unlike a purebred dog, we have a relatively spotty (pun intended; coat color and patterning is a great example of epistasis) understanding of how the sequences from lots of contributing breeds will interact.

The biggest thing that carries across all the fights is the close - combat sequences where guns and ranged weapons are put aside, bringing everything down to quick parries and area of effect attacks.

It is possible to see the influence of experimental games in the Bioshock series, in the work and philosophy of Ubisoft, even in the Call of Duty series, where the surreal, hallucinogenic memory sequences that have come to typify the Black Ops titles, with the same focus on environmental and audio effect over player input.

The Wii U E3 build was choppy in high - action sequences, where the Switch seemed to struggle most with grass effects in TV mode.