Sentences with phrase «filmed by drones»

Videos filmed by drones can help buyers get a better idea of what a property «feels» like before they visit for a showing, Balduf said.

Ancient culture meets modern technology as the Tjapukai performers are filmed by a drone.

Not exact matches

The Lily drone was highly anticipated because of the auto - follow feature: It promised no technical know - how or setup, but by carrying a small puck - like tracking device, you could just throw the drone into the air to activate it, and it would automatically follow and film you, so long as you were holding the tracker.

It was filmed using a custom - built drone equipped with seven GoPro cameras and operated by a licensed drone pilot due to the complicated nature of the shoot, which included dropping 30 feet into a field of sharp agave; long, continuous shots; and stabilization against the wind.

Still filming, the drone tumbled to the ground, where it was examined by other members of the troop.

By Dan Whitcomb (Reuters)- A private drone trying to film a wildfire that has charred nearly six square miles in Northern California briefly disrupted firefighting efforts, although workers had gained the upper hand against the blaze, officials said on Monday.

The eOne Features film mirrors what happened just this week in Somalia, when the U.S. military killed 150 Islamist Al - Shabaab militants in strikes carried out in part by drones.

Hood and Eye In The Sky was awarded for its powerful portrayal of the ethical dilemmas posed by drone warfare, including how political and military leaders assess «collateral damage» — a term for which the film provides much - needed humanity.

Spectre, Daniel Craig's fourth film as James Bond, continues that trend by showing secret agent Bond struggling in an age where drones are seen as a suitable replacement to agents on the ground.

The first third of Clockstoppers is an interminable high school comedy ending with a DJ showdown, the second third of the film is Zak on the run from evil corporate drones led by Michael Biehn, and the final third of the film is an infiltration of the evil corporation ending in a ludicrous action sequence and capped by a Back to the Future resolution involving a shiny new car and a nubile young lass.

Shot by Amir Mokri (TRANSFORMERS: AGE OF EXTINCTION) and produced by the team from THE HURT LOCKER, DALLAS BUYERS CLUB and KILLER JOE, the film centres upon fighter - pilot turned drone pilot Tom Egan (Hawke) who questions the ethics of his mission taking pot shots against an enemy half way around the world.

Directed by «Tron: Legacy» helmer Joseph Kosinski, and based on his own graphic novel, the film stars Cruise as a drone repairman in a post-apocalyptic future where Earth has become uninhabitable and overrun with alien Scavengers, who encounters a mysterious woman who changes everything.

As you may know by now, the events of the new film are set into motion when Tony Stark (Robert Downey Jr.), attempting to take some of the world - saving weight from his heroic comrades, creates an army of technological peacekeeping drones controlled by the clever A.I. Ultron (voiced and performance captured with relish by James Spader).

Played by Domhnall Gleeson, Jon is the main character of the film, an office drone with dreams of musical stardom who thinks he finally might get his big break when Frank's band loses its keyboard player and has to take him under its wing.

Jarmusch and Swinton discussed the film in in New York and music fans take note, that fantastic soundtrack, by Jozef van Wissem and Jarmusch's drone rock band Sqürl, should be out sometime in early January according the filmmaker.

Slow, not terribly interested in lore or internal logic, and fatally hamstrung by the choice of actors like Billy Crystal and a zombified Emily Mortimer to voice its American dub, it's a regression for Miyazaki from his last two films (Princess Mononoke and Spirited Away) in almost every sense, starting with his decision to have a lonely young woman as the central character in place of the prepubescent little girls front and centre in most of his masterpieces (the last two films, Kiki's Delivery Service, Nausicaä of the Valley of the Wind, and My Neighbor Totoro) and ending with a gross simplification of his usually complex themes of confidence and actualization into a colourless, flavourless drone about the hard - to - dispute badness of war.

Meanwhile, the electronic score by Trent Reznor and Atticus Ross helps sustain the on - edge atmosphere, its chimes and drones serving as fitting aural correlatives to the film's fairly woozy visual register.

Niccol is as focused, if not more so, on drone warfare than he is on Tom, but Ethan Hawke never allows the character to be overshadowed by the film's engaging world.

Following mild - mannered office drone Simon James as his life takes a dark turn when a doppelganger named James Simon joins his company, soon winning over colleagues and the girl that he secretly loves, as Kevin said in Toronto, the film «matches its visual consistency with a narrative rhythm that is utterly engaging,» with a gorgeous look from DP Erik Wilson and a great score by Andrew Hewitt.

Turns out it's all part of a two - years - in - the - making attack headed by a lethal Pakistani arms dealer named Aamir Barkawi, bent on revenge after his family is killed during a drone strike in the film's prologue.

She says that something called drones will be used to watch the entire country, she talks a lot about something called nanotechnology, and 3 - dimensional printing and cellular phones being implanted into peoples» minds and all available careers being replaced by robots and human cloning and overpopulation and film becoming obsolete, cellular phones making regular telephones obsolete and LED lighting replacing everything and eventually she says that the planet will collapse and become an apathetic wreck,» Alecto replied rapidly, his run - on sentence sounding sinister and dangerous.

A film installation by some politically aware collective is droning on in the corner.

Last week Omer Fast's 2011 film 5,000 Feet Is the Best, exploring a drone operator's experience of remote destruction, was acquired by the UK's Towner Gallery and Imperial War Museum.

Close out the year with what looks to be an intense, possibly six - hour - long performance by experimental video / computer / film / sound artist of «minimalistic drone» tones, Phill Niblock.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

By filming the smoke trailing through the sky and removing the drones in post-production, Trillo was able to produce the illusion of smoke seemingly twisting and weaving in a choreographed dance without any type of aide.

Exhibition highlights include Muxima (2005), a video work by Alfredo Jaar, featuring fragmented vignettes of landmines, the AIDS crisis, and remnants of colonialism in Angola; Jenny Holzer's large - scale color - blocked painting Water - board 14 U.S. government document (2010), which depicts a redacted, confidential U.S. government document; Omer Fast's film 5000 Feet Is the Best (2011), which grapples with drone warfare; An - My Lê's photographic depictions of war and military culture that play with fact and fiction; and photographs and a film by Eric Gottesman that are inspired by his exploration of the dissident Ethiopian novel Oromaye.

Raymond Pettibon's films Sir Drone and The Whole World is Watching: Weatherman»69 about the paradoxes of American punk will be screened at Garage Auditorium throughout the exhibition, while the open - air cinema on Garage Square will show a Russian premiere of Turn It Around: The Story of East Bay Punk by Corbett Redford, exploring the 30 - year evolution of punk rock in California.

Filmed with drone cameras and moved by hidden performers, the haptic quality of the sculptures recedes into the background in service of the overall appearance of the film, allowing the sculptures to become temporary actors in the film.

To get the film below he launched the drone from a small inflatable boat by hand.

We'll film our weddings with drones and get the latest «Wimpy Kid» book delivered by them.

The report says: «It is not far - fetched to imagine that drones could be used for aerial mapping services; the television and film industries could use drones to shoot advertisements or movies; or they could be used by real estate agents to sell property.»

Using your drone commercially, such as filming weddings for clients, is considered business use and not covered by your home or renters insurance.