Sentences with phrase «film frame at»

Not exact matches

A second and third installment of Avatar are in the works, and at a recent comic convention Cameron said the films may be shot at a higher frame rate than the industry standard to make the film seem even more real.

In a highlight film of his career that was shown at a testimonial dinner for him last year, Marino appears on camera, full frame, with a few earnest opening remarks about how he'd like to be remembered as a team man who worked as hard as he could, and as a team leader, etc..

The motion of these markers could be tracked using six infrared cameras filming at 200 frames per second while the player was throwing.

While filming the elusive Basilisk lizard, which can sprint on water for up to 100 feet in moments of danger, photographers ventured deep into the Brazilian rain forest with a super-slow-motion camera shooting at 2,000 frames per second, 80 times as rapid as a traditional camera.

The modulators can refresh their patterns at 240 hertz, or 240 times a second, so even at six patterns per frame, the system could play video at a rate of 40 hertz, which, while below the refresh rate common in today's TVs, is still higher than the 24 frames per second standard in film.

Working with Gregory Sutton of the University of Bristol, UK, Burrows filmed the gears at 5000 frames per second and confirmed that they mesh with each other (see video, top).

So the researchers used a high - speed video camera to film the animal at up to 100,000 frames per second.

At the core of all his films is heart, Love is in every frame as honestly as it could be perceived.

(Among the film's principals Wolverine alone suffers the torment of having his consciousness exist in two time frames at once, but the actor seems to be having fun).

The picture transfer is fine but given how new the film is, the odd frame suffers from a print that looks a little dirty at times.

Speaking of James Cameron, I heard that he is actually planning at shooting the next AVATAR film at an even high frame rate (60 fps)

Now that it's out there, filmmakers are going to start experimenting with filming at the frame rate.

For an additional preview look at how all the films have been newly tweaked for this Blu - ray release, including aspect ratio framing, color corrections, soundtrack enhancement and the replacement of the «Muppet Yoda» with an all - CGI version in the Phantom Menace, check out the report from Slash Film.

Spicing up the obligatory deck of title cards that films like these invariably require for context — there's this new country called Israel, and the Palestinians are super pissed at them, and now everyone is going to stop being polite and start getting real — Padilha frames the introductory text against a rapturous performance by the Batsheva Dance Company.

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.

After the painfully one - sided sexual adventure of the first film, in which she met Christian and was brutally exposed to his odd habits, and after Christian's even nastier control - freakishness in the ill - conceived «50 Shades Darker,» Ana is at last able to demand to hold the reins from time to time — a narrative turn that manages to frame their marriage as an empowering structure for women: now enclosed in the gilded cage of their union, Ana can pull on the rope that Christian had tied around her neck.

Anderson likes to frame his films as tall tales, placing viewers at a gentle remove from reality to a plane of existence more fantastic and charmed than our own.

It's a mesmerizing look at Vincent Van Gogh's final days, as elegantly interpreted by a team of 100 professional painters who hand painted every single frame of this truly unique film.

«Loving Vincent» required more than 100 artists to hand - paint frames of film, a masseuse / healer and a billionaire encounter one another unexpectedly in the film «Beatriz at Dinner,» and more top picks.

Containing everything from mundane minutiae to sublime epiphany (the Zissou - type moment with the wolf at the end), it's a film where tender care and the joy of creation shows in every frame.

Framing the film around the definition of «Altmanesque,» Altman goes through the filmmaker's work one at a time in chronological order, starting with his work on television up to his swan song A Prairie Home Companion.

Also, while the film overall boasts bold visuals, certain wide shots of the ship at sea look hopelessly CGI'd and I'm certain that at one point the tip of a boom mike was visible in frame.

Peppered with a near - constant barrage of footnotes on the lower third of the frame identifying whatever varietal of crop viewers happen to be observing at a given moment, the film is insistent in its efforts to stoke interest in gardening and pruning, yet it stops short of bridging the gap for those less inherently spellbound by soil, roots, and branches.

Ronan, who seems to grow into her lanky frame over the course of the film, nails the sense that Lady Bird's life is a tendentious war between her ego and increasing sense of the world around her, while Metcalf masters Marion's inability to erase her frustration at her inability to be selfish or impulsive.

At the film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile GerimAt the film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerimat loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gframes the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile GFrames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerima.

Those like me accustomed to seeing the Indiana Jones films in the wonder of degraded pan-and-scan videocassettes should rejoice at the sight of these DVDs, which offer higher resolution and preserve the considerable frame width in anamorphic widescreen transfers nearer to 2.35:1 than the 2.20:1 aspect ratios widely cited.

Running at just 30 seconds long, the Scarlett Johansson led Ghost in the Shell continues to visually amaze for fans of the original films with it's near frame for frame replication until we remember that Johansson is white and the Ghost in the Shell live - action remake is an inherent example of Hollywood's worst habits of whitewashing.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

The first look at a heavily anticipated blockbuster now inspires article - length analysis, with eagle - eyed writers going through them line by line, shot by shot, sometimes frame by frame, searching for pertinent plot details with the kind of intensity of attention once reserved for the Zapruder film.

Midway through the film we see the front of an ornate building almost obscured at one edge by a dark vertical shadow; all such limits recall the frame borders.

Without seeing a frame of film, you know Ben is going to be a likeable loser, unlucky in love, embarrassing himself to win a lady over, and subjected to the grossest mishaps at every step.

The film makes its home video debut on a beautifully - mastered Blu - ray and DVD combo edition mastered from the restored elements at a corrected 20 frames per second and accompanied by an original score composed and performed by Neil Brand, Gunther Buchwald, and Frank Bockius.

In anticipation of the film's premiere, Amazon Studios has released the first official look at the film online today, including a small glimpse into the mesmerizing, unique format that frames all the events and characters within the film itself.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

It does little more than set still frames to the film's score, tacking on a list of its seven Academy Award nominations at the end.

Tomas Alfredson's all - star, all - shite cast, including Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, JK Simmons and (oh dear) Val Kilmer, stare at each other in the hope somebody in frame will save the scene / film.

The effective introduction of colour into a monochrome world was done by shooting in colour originally, scanning the film digitally at 2K, and then removing colour frame by frame as needing by the progression of the story.

Reynolds's behavior may be capricious, but Phantom Thread is consistently beautiful to look at: uncredited, Anderson was his own cinematographer, filming on 35 mm and impeccably framing each luxe interior, each of the protagonist's glorious sculptural dresses.

Ralph Fiennes adaptation of Coriolanus is another film that looks at the lust for power, within the frame of masculinity, and sets it in a recognizable time of war: this time a bit of an ambiguous Middle Eastern territory.

As a further lure, Jackson has even fashioned this CG - heavy film in 3 - D and shot it digitally at 48 frames per second instead of the usual 24 f.p.s. (A 2 - D, 24 - f.p.s. version is also being screened.)

In what turned out to be one of the highlights at this year's CinemaCon was the stunning, 10 minute footage from Peter Jackson's new movie, the epic 3D film adaptation of Tolkien's The Hobbit (which opens December 14) that was shot at a frame rate of 48 per second achieving an unprecedented combination of uniformity and brightness.

Framed with aerial insecticide spraying at the beginning and an earthquake at the end, Short Cuts doesn't quite strive for the same accumulating punch of Altman's similarly - sprawling Nashville, but had an enormous influence on film dramas of the following 20 years, particularly Paul Thomas Anderson's Magnolia and Paul Haggis» Oscar - winner Crash.

The doc also garnered an award at Full Frame, one of North America's most prestigious nonfiction film festivals.

CGI, like live - action film, is delivered at 24 frames per second.

Like those other films, Gallery is divided into a series of segments highlighting different aspects of the institution: the tour guides explaining a work or an artist; the craftsmen and women building frames, gallery spaces, designing and testing lighting; restorers at work fixing paintings damaged by time; and administrators debating the best ways to persevere the museums brand and grow its audience.

Rebel Wilson seems to be in the film for only one reason, to make fat jokes at her frame.

It's the first film to be partially shot with a 120 frame per second rate (most films are shot with at 24 fps) and excerpts were recently shown at the National Association of Broadcasters Show in Las Vegas last month who were reportedly blown away.

Throughout the course of the film, there is open space at the top and bottom of the frame.

At a taut 88 minutes, the film doesn't waste a frame, moving along at a brisk pace and escalating the terror every step of the waAt a taut 88 minutes, the film doesn't waste a frame, moving along at a brisk pace and escalating the terror every step of the waat a brisk pace and escalating the terror every step of the way.

One episode is framed, clumsily, by flashbacks in which a younger and more virile Hank, seen exclusively in silhouette and shot at what appears to be magic hour, mewls misterioso about the chemistry of the human body as though he were screen - testing for an Alejandro Gonzalez Iñárritu film.