Sentences with phrase «effects shots in the film»

Their talk isn't necessarily bad, but it's very dry and they do focus solely on the visual effects shots in the film.

Rodriguez points out the simplicity of many of the effects shots in the film, and makes it all look very easy.

Not exact matches

Like «Part 1», «Part 2» was filmed in 2D, but in this case the effects (and some 200 shots) were completed in 3D.

And the film is just beautifully shot and it has the best visual effects I have seen in a long time.

The film's striking images — an isolated gothic mansard - roofed mansion standing alone on the prairie, the dark silhouette of a scarecrow in the field, an enlarged shoot of grain coming up through the soil, a grasshopper chomping a head of wheat, a wine glass under water following a furtive tryst — are charged with emotion and meaning, never there just for effect.

Going in step with the film's game vs. reality plot, several establishing shots have a tilt - shift effect, as if beginning as miniature diorama models on a game board, and a continuous shot of the group of friends playing a game of keep - away with a black - market Fabrege egg — a McGuffin — through every room of a mansion is a tense, energetic, elaborately choreographed bit of showing off.

A lot in the way this film was shot, with this speed and the high stakes and the technicalities and the dependency on each other and the, also the effects, you know the props and things, the cameras, the lighting and the removing of tables and putting them back, you know all those things sort of created this high level intensity and pressure that felt sort of emblematic sort of how it feels on the stage.»

While it would be easy to shoot an entire film like this on a sound stage and use visual effects to complete the scenery, director Baltasar Kormakur (2 Guns, Contraband) wanted the cast to experience the elements firsthand by shooting on location in Nepal on the foothills of Everest, as well as the Italian Alps.

Blu - ray Highlight: In addition to an excellent six - part documentary that runs the entire gamut of production — from location shooting in Romania, to Nicolas Cage's (creepy) performance capture of the Ghost Rider, to special effects and more — the Blu - ray also includes a feature similar to Warner Bros.» Maximum Movie Mode where directors Mark Neveldine and Brian Taylor dissect the film (sometimes pausing it to discuss certain scenes in more detail) with the help of behind - the - scenes footagIn addition to an excellent six - part documentary that runs the entire gamut of production — from location shooting in Romania, to Nicolas Cage's (creepy) performance capture of the Ghost Rider, to special effects and more — the Blu - ray also includes a feature similar to Warner Bros.» Maximum Movie Mode where directors Mark Neveldine and Brian Taylor dissect the film (sometimes pausing it to discuss certain scenes in more detail) with the help of behind - the - scenes footagin Romania, to Nicolas Cage's (creepy) performance capture of the Ghost Rider, to special effects and more — the Blu - ray also includes a feature similar to Warner Bros.» Maximum Movie Mode where directors Mark Neveldine and Brian Taylor dissect the film (sometimes pausing it to discuss certain scenes in more detail) with the help of behind - the - scenes footagin more detail) with the help of behind - the - scenes footage.

In addition to the impressive effects, the film features stunning cinematography from Michael Fimognari (who recently shot «Gerald's Game» and «Before I Fall»).

Given the extreme low budget (the film was shot on a shoestring in Budapest), the special effects look pretty credible, with Petty wisely deciding to spend most of the time with the creatures in the background or swathed in shadow, understanding that Sentinel is a picture of ideas — an unusually faithful recreation of Hitchcock's film possessed of a similar, mordant sense of humour, if an understandable surfeit of corresponding depth.

It also has some footage you haven't seen before, a digitally - altered version of a shot from the film (above, with extra details added to the painting) and a little bit of the awesome Can song «Vitamin C» that is used to good effect in the film's opening.

«Star Wars» Sequel: All six previous «Star Wars» film have shot some scenes at U.K. studios, but almost all of the production on J.J. Abrams» upcoming sequel will be done in the country, including the visual - effects work.

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

Because of the time - consuming process of the practical effects, and the metric ton of gore, Alvarez shot the film in chronological order.

If only Emmerich could figure out how to better integrate these cool effects shots into his films, rather just drop them in the middle of some tedious story about a scientist racing against the clock to blah blah blah...

An early scene shows Hitchcock playfully demonstrating the «swaying lovebirds» effect (the most amusing sight - gag in «The Birds»), and later we watch Hedren endure minor injuries while shooting the film's terrifying phone - booth scene, when Hitchcock endangered the actress with breaking glass and a fake attacking seagull.

It's interesting to note that during filming Deakins invented a new type of a combination of lenses, appropriately dubbed «Deakinizers,» which he used to produce the effect of old camera footages in several transitional shots throughout the film.

The effects are much better this time, and the Hulk is more expressive in long shots (in the first film, his face only moved in close - up).

Originally intended to be shot in full Cinerama, it was eventually filmed in the more conventional Super Panavison 70 process when special effects supervisor Douglas Trumbull pointed out that it offered less chance for visual distortion.

Regardless, the effect of limiting the film to the Dunst - Hartnett storyline is twofold: first, we get to enjoy many many many shots of pretty young actors being pretty, walking in slow motion, rolling around in the grass, etc; second, none of the other characters ever mean anything to us.

Very much a kitchen - sink drama — the family kitchen is the dramatic hub for much of the film — shot in a more or less documentary style and featuring terrific performances by nonprofessionals, the film takes a no - frills dramatic approach that could be roughly located on a Cassavetes - Dardennes spectrum, and uses it to intensely revealing and moving effect.

Every flashback to the 20's is fully treated as a film from the era, entirely without effects of any other diegetic sound and shot in hazy black and white.

They remain clean, clear, sharp, and detailed throughout, only briefly faltering in one scratchy bedroom scene, an isolated fluke occurring in the middle of the film, and more understandably in a climactic effects shot.

The Appendices — A multi-part chronological history of the filming of The Hobbit: An Unexpected Journey, covering pre-production in the various departments of the film in the months leading up to the start of principal photography, the boot camp training for the main cast, the work done on set chronologically through the three shooting blocks and in the world of its digital effects.

«This Is VistaVision» is a cool look at the history of Paramount's groundbreaking higher - resolution filming and widescreen exhibition technology, in which Funny Face was shot, and is largely only used for effects work today.

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.

I've noticed a similar trend with a lot of special effects and even some ordinary character shots in both films and TV clearly being modelled to resemble video game scenarios.

I was later somewhat disappointed to learn, as the quote above reveals, that the shot was achieved through visual effects, but it wasn't enough to erase the image from my mind: a distressed Milk confronts a police officer following a violent night of gay - bashing in the Castro as a whistle — a plot point raised earlier in the film — lies blood spattered on the ground, reflecting the scene throughout.

But it benefits from a handful of glorious visual moments unlike anything else in sci - fi — the stunning track - back through the universe at the film's opening, the special effects bonanza that brings matters to a climax and a truly weird and unforgettable through - the - mirror long shot.

Blade Runner 2049 is the cinematographer's third film with director Denis Villeneuve and, in an interview with Vanity Fair, Deakins explained the extent of the collaboration — designing the look of the world with the director, and even staying on set during postproduction to supervise visual - effects shots and ensure they maintained the spirit of bleakness he and Villeneuve had envisioned for the futuristic film.

The hyper - realistic imagery not only ensures every computer - generated effect and model shot is obvious, as well as the casting its performers in an unflattering, cheap television - style light, but exposes the film's artifice.

It was scheduled for a November 2012 release until Warner Bros. got cold feet and yanked it in favor of a 2013 bow (it's also possible that the film, with its thousands of effects shots, just wasn't ready).

This marks the first time a Star Trek film has shot outside the United States, with shooting in Iceland for special effects sequences.

Deathly Hallows has plenty of special effects moments that look spectacular in HD, and even when there's not a huge action sequence in play, the film's reliance on the party's trek means there are lots of sweeping landscape shots that have their own beauty.

Smartly shot for a very modest budget of $ 30 million (lots of strings were certainly pulled to get such a cast of famous personalities onboard), Rogen and Goldberg know where and when it's most effective to go for special effects (this does not feel like a low budget Hollywood film), and they do so without letting visuals or star egos get in the way of making a very funny movie.

I can only imagine that it has something to do with the way in which the film was shot to accommodate the special effects, but this is one of the brightest transfer that Ive seen in a long time.

Viewing the film in 3D, there are some great epic scale shots for the effect but I wasn't very blown away with it anyway.

«Visual Effects in Motion» (3:40) briefly and effectively shows us the many layers of CG effects added to a handful of challenging shots, all but one taken from the film's climax.

The film was indeed awash in special effects, in fact most of the so called «visually impressive» shots were effects but the Academy is showing a troubling bent towards accepting these things (specially after Avatar).

The film exhibits some grain, most noticeably and understandably in effects shots which are often none - too - convicing in this digital age.

An impressive shot establishing Pumpkinhead as he strides into the skeleton of an old, broken - down church in blue half - light suggests more than the triumph of practical effects on a low budget and tight shooting schedule: it suggests that the film's simplicity could — should — be read as pagan folktale, complete with cautionary spiel, brutal exposition, and a surprisingly strong moral grounding.

The film was shot for a 3D release, but the effects came across as fake and phony like those recent Disney adaptations of Alice in Wonderland and Oz, The Great and Powerful.

Blu - ray Highlight: Though Joe Carnahan has a tendency to be a bit of a tool when it comes to talking about his movies, the director's commentary with editors Roger Barton and Jason Hellmann is nonetheless an engaging discussion about making the film that covers a range of topics like the cast, special effects and shooting in the Arctic.

In «Ten Minute Film School» (9 minutes), Rodriguez preaches about the ease and versatility of shooting digitally and shows how many elements of the film were added during post-production using digital visual effects.

, Oedekirk has taken an actual film, Tiger and Crane Fist from 1977, and has removed the audio tracks and injected his own, added some special effects which put him in the movie, and shot some extra scenes to hold the film together.

His well - known «Kuleshov Effect» seemed to prove the point: in the experiment, Kuleshov cut between the expressionless shot of a famous Russian silent film actor (Ivan Mozzhukhin) and a variety of other shots: a young woman reposed on a chaise, a child in a coffin, a bowl of soup.

Shot on 16 mm, with all the animation and visual effects being constructed in camera through multiple exposures, Beckman's films create narratives using the pedagogic and competitive structures of games.

Whether seeking remembrance of a city's fading past or reflecting on nature's fugitive atmospheric effects, Hutton sculpts with time; each film unfolds in silent reverie, with a series of extended single shots taken from a fixed position, harking back to cinema's origins and to traditions of painting and still photography.