These days, however, digital cameras are ubiquitous and
film cameras virtually extinct.
Not exact matches
George Clooney's charisma and powerful screen presence have never been more integral to a
film, nor used in a more futile effort, than in THE AMERICAN, a
virtually silent opus that trades on Clooney's unassailable ability to seduce the
camera.
(Update) Having now viewed the
film in both 24 fps and 48 fps I can say that the minor issue with cgi not blending with the its environment fully is
virtually non existent in the 24 fps edit and despite the motion blur when the
camera moves at pace it is an much more satisfying and enjoyable experience.
That's true for
films as explanatory, powerful, and lucid as Barak Goodman's Oklahoma City and Sebastian Junger and Nick Quested's Hell on Earth: The Fall of Syria and the Rise of ISIS, and it's true for a movie as intuitive and
virtually wordless as Bill Morrison's entrancing Dawson City: Frozen Time, a meditation on the permanence and impermanence of what
cameras capture, and of
film itself.
They have
virtually no idea where to put the
camera, shooting the whole
film more like a promotional video from a frat party.
Here, Stewart doesn't need to steal the
film from anyone: She's in
virtually every crisp frame of it, holding the
camera's woozy gaze with her own quizzical, secretive stare and knotted body language.
This is a movie
filmed through
cameras virtually ingrained into the trees and the mud and thickets through which we see this movie unfold.
The
camera is
virtually never still during the opening sequences, which form a present - tense prologue placing the remainder of the
film firmly in the realm of memory.
The month after San Diego Surf
filming was completed, Warhol was shot by Valerie Solanas, which
virtually ended his work behind the movie
camera.