Sentences with phrase «end film cameras»

RED, the company better known for high - end film cameras has announced the world's first holographic smartphone.

Not exact matches

Surfers addressed that problem as best they could by using the buddy system and carrying cheap, disposable film cameras that came with a waterproof housing and glorified rubber - band wrist strap — but that usually ended with the cameras banging them on the head or getting lost in the water.

Jackson ended up buying 50 Red cameras to film The Hobbit and shared his enthusiasm with Steven Soderbergh, who was looking for cameras small and tough enough to survive the Spanish jungles in which he would be shooting the two Che films.

Near the session's end he was interrupted by an aggressive p.r. rep for Target, one of the event's sponsors, who asked that Earl give the kids some putting tips, to be filmed by her camera crew.

If you watch the whole video it shows Sancho filming himself then in the very end Auba gets hold of the camera and randomly asks that question fromSancho.

(BTW, at the end of the last episode we were told ominously that JO had been banned by the LA school board from even filming in West Adams, yet here we are again with cameras, so not sure what's up with that.)

The show ends with Jamie being told that his filming permit with the charter school has been revoked by LAUSD (yet he's still there with cameras, so not sure what this really means) and is told by the hipster charter school guy that LAUSD has forbidden him from even asking any West Adams students about their school food.

Felix Figueroa, 39, of the 2800 block of North Natoma Avenue, had been arrested for a traffic offense and placed into a cell when a surveillance camera inside the lockup filmed Figueroa as he bit one end of the mattress cover, then tore it open and removed the foam inside, police said.

Other MPs allegedly plotted an «accident» in which an MP would fall backwards into a camera, providing a pretext to end the filming.

Unlike most film cameras, it features a high - end 10MP sensor that captures images on an SD card and is then able to print them out as well.

«I also like the end of the film where members of her lab talk briefly on camera.

About me: MY PHOTOGRAPHY i have been into photography since i was a small boy i remember running around with my little camera taking picks with a 110 roll of film that is almost obsolete lol i remember begging my mom in 5th grade for a polariod camera did nt get till the end of

Breathing a viscous cloud of money, groaningly stuffed with high - priced talent on both sides of the camera and apparently unlimited resources, the films of Scott the Elder (even the half - decent ones) nevertheless seem to wisp away the moment they end.

The film works up to a totally conventional ending: It's never much of a comedy or an exploration of the phone - sex phenomenon, and it often seems to be just an excuse for Madonna, John Turturro, Quentin Tarantino and other Lee pals to make cameo appearances and mug for the camera.

In the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

The «Steve Jobs» director is currently working with «Trainspotting» writer John Hodge on the script, and hopes to have the film before the cameras at the end of the year.

Shot in a highway coffee shop, the scene is almost entirely filmed in close - up - minutes on end with Hall's face pressing the camera, answered by Reilly's blank stare.

Both of the men are seen conversing on camera, and there comes a great scene at the very end in which the directors take turns filming a statue and explaining their technique.

You know, having people look into the camera, having three different songs play at one time, simply ending your film on Sister Carol looking into the lens and nodding and wagging her finger.

And while there are a number of strong sequences sprinkled throughout (eg Cole talks to his mother (Toni Collette's Lynn) about her own deceased parent), The Sixth Sense's funereal atmosphere ultimately lessens the impact of the much - vaunted climactic twist and it is, in the end, clear that the film doesn't entirely work as either a drama or a spooky thriller - with the movie's mild success due mostly to Shyamalan's considerable talent and his ongoing ability to wring top - notch work from folks both in front of and behind the camera (ie this is an exceedingly handsome production, undeniably).

But in the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

The film owes a little to the horror genre, certain visual moments capturing that hair - raising creepiness common in the genre greats — I'm thinking of the way the camera foregrounds and backgrounds people and space in a certain sequence towards the end (reminiscent of Mike Gioulakis and David Robert Mitchell's efforts in It Follows).

«I've got this film camera that Yorgos gave me at the end of Sacred Deer.

The film ends with Ben standing and looking into the camera.

There's a real paucity of films about our venomous culture of self - hate and the tyranny of appearance, and a time or two Miss Congeniality seems on the verge of saying something with its odd voyeuristic device of having Gracie wander around with a P.O.V. camera, but in the end the picture is all lip service paid to the altar of sneering asides and being a magnificent prick.

Steve McQueen) Cast: Chiwetel Ejiofor, Michael Fassbender, Brad Pitt, Benedict Cumberbatch Having won the Camera d'Or for his feature debut «Hunger» back in 2008, Steve McQueen opted to go to Venice for his follow - up «Shame,» but all the stars look to be aligning for his third film, «Twelve Years A Slave,» to end up at Cannes.

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.

Her victory underscores how, in the end, many of the strongest of the very good competition films at Locarno this year resonated, or dealt directly, with diversity of various sorts, be it the presence of the unconventional behind or in front of the camera.

This is a film fuelled by fire and blood, and as such you might expect such explosive in - camera pyrotechnics to detract from the central narrative, but Miller ensures that we remain invested in Max and Furiosa's joint arc right to the end.

# 2: The End of Love - Mark Webber starred in three films at Sundance this year (unfortunately I missed For a Good Time Call...), and while it's clear I loved the actor in Save the Date, it's his work behind the camera as well as in front of it that made The End of Love a surprise treasure.

Warner Bros, knowing the Potter saga was coming to an end, snapped up the rights to Joseph Delaney «s «Wardstone Chronicles,» a while back, and the film finally went before cameras this year, with Julianne Moore, Olivia Williams and rising star Alicia Vikander also on board.

At the end of the film, there's another gratifying burst of camera movement, as a jerky handheld camera races to keep up with a yelping mad, battle - ready McCain.

The film is filled with tender ditties performed by the likes of Ryan Adams, Once duo The Swell Season, Joshua Radin and Schuyler Fisk, and Seyfried herself on camera and over the end credits.

The film is pieced together from outtakes from the long - time documentary filmmaker / cinematographer's extensive body of work, but beyond occasionally hearing her voice behind the camera (and one shot towards the end in which we finally see her face as she points the camera toward herself), Johnson forgoes the safety net of voiceover narration to tie all this footage together.

He frames the film with documentary maker Laura Poitras (Melissa Leo) getting Snowden (Joseph Gordon - Levitt, geeky but nice) to tell his story to camera in a hotel room in Hong Kong for Citizenfour, accompanied by Guardian journalists Glenn Greenwald (Zachary Quinto) and Ewan MacAskill (Tom Wilkinson)-- and ends it with the actual Alan Rusbridger inteviewing the actual Snowden on stage, via the internet.

But then again — there probably wouldn't be much of a film then if this scenario played out, and that terrific ending, which just gave me another chill, would have never been caught on camera.

I recall that when discussing his plans for the film, Guadagnino had told me that he would end the film with a shot of young Elio weeping before the camera.

In the previous films, part of the thrill was wondering where the camera was going to alight next, and the knowledge that a scene was more likely than not to end up in a spatial configuration radically different from the one in which it began.

True to the Resident Evil film series, the movie ends with a camera shot that starts on Alice and pulls out to an extremely wide shot.

But Otto Preminger — known for his hot temper, thick German accent, bald bullet head, defiance of taboos and long camera takes — was also one of the czars of film noir in the 1940s and early»50s, when he directed classics like «Laura,» «Where the Sidewalk Ends» and «Angel Face.»

It was actually just filmed in the hallway where we tested the games with a low - end video camera, a few lights, and a piece of black cloth as the backdrop.

In the end, the film wasn't loaded properly in the camera and all of the footage came out blurred, which Moran found to be an inspiring dilemma.

, 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.

The month after San Diego Surf filming was completed, Warhol was shot by Valerie Solanas, which virtually ended his work behind the movie camera.

Only at the end of the film does the camera reach the tall spire of the Empire»» the journey downward turns out to be a climb to the top.

He was a recipient of Silas Rhodes scholarship and has worked under different artists and engineers, helping design and build anything from buildings to sculptures, film sets, electronic systems, furniture and camera rigs, and high - end furniture.

To that end, they invited residents at a project in New York's Manhattanville neighborhood to attend a 12 - week workshop and then, armed with disposable cameras supplied by Kodak, with Duggal Visual Solutions printing the film at cost, the participants were sent forth to photograph their world.

Dynamic range was a little worse than with the camera and since there's no video HDR mode you may end up choosing between a very light and very dark subject depending on what you're filming.