Sentences with phrase «films frame by frame»

The ability to study Brakhage's films frame by frame, and to read Fred Camper's superb commentary, also enhances the experience, easing the bittersweet film nostalgia for die - hard celluloid purists.

The glory of this film's effects is that everything is always more complicated, a bit harder to fathom; VFX fans and mathematicians alike will mull over the film frame by frame to figure out exactly what's going on spatially and geometrically.

Not exact matches

Given the painstaking frame - by - frame choreography of a film like this, it seems Anderson failed to entirely consider how this might come off to an even remotely skeptical viewership.»

The funding is raised by interested investors, within a limited time frame, during an event, which is filmed and broadcast live through the Internet.

Near the bar there's the large wicker basket overflowing with game balls; the Caddyshack poster signed by the film's stars is in the home theater (used exclusively, alas, for watching game video); and in the weight room, a wall is lined with framed photographs of the proprietor schmoozing with some of football's most recognizable faces.

Vicky Abeles, the mother of three kids who were scorched by the heat of extreme academic competition, framed her film as a cautionary tale.

Software developed by LLNL computer scientist Jason Bender scans each frame of the films to automate the measurement process.

To achieve the high - definition needed for the big screen, Domino takes images which have been shot on movie film and converts them into a video format by breaking each of the 24 frames per second into a mosaic of 3000 × 2000 picture points.

Personal or Handmade Touches - Handmade invitations (made by ourselves)- Handmade place settings (made by ourselves)- Handmade Guest Book (drop frame — guests signed a wooden heart, and dropped them into a frame)(made by ourselves)- Framed pictures for table names (made by ourselves, and named after cars from Harry's favourite film)- Personalised cake topper and cupcake decoration (cake topper from Ebay, and cake made by my Aunt)- Handmade bridesmaid's posies (made by my mum)- Personalised and hand painted wedding shoes (for Bride)(done by Beautiful Moments)- Personalised champagne glasses for Bride and Groom to use for toast (bought as a present by my sister and her family)- Ushers were bought cufflinks to wear that reflected their personal interests - Bridesmaids were given personalised flat shoes to wear in the evening (personalised by me)- Handmade bridesmaids dresses - Flowers and buttonholes, and bouquet all made unique, with my bouquet including charms with pictures of my grandfathers on them.

Which yes, the movie 100 percent tugs on every ounce of nostalgia you have for the original film, even mirroring many of the scenes, frame by frame.

It's really good, deserves respect for its treatment of the subject matter, and is a great example of what I love about 70s cinema, but I just didn't get blown away by it, Maybe I just wasn't quite in the right frame of mind, or maybe I've just seen too many films like this already, but I don't think it's quite as good as everyone else does.

There's little doubt, too, that the film's hands - off vibe is perpetuated by Abdalla's sleepy, far - from - charismatic turn as the one - note central character, and it's clear that The Narrow Frame of Midnight's few moments of electricity are thanks entirely to Choutri's captivating, Vincent Cassel - like performance.

The film is framed by a letter that Caroline, afflicted with a mortal case of Scarlet Fever, is writing to her young «uns in 1775, a communication that tells the story of a woman who despite her beauty and charm is not particularly liked by her new husband.

Little more than boring extended battle scenes between the two, framed by the killing of teenagers who usually deserve their demises, Freddy vs. Jason is one of the year's worst films.

After some opening images — a shadowy blond figure, complete with trench coat and heels, dumping a corpse off a bridge — that immediately frame its tale of moneyed madness through the greasy lens of B - movie schlock, the film moves to an aging Durst (here renamed David Marks and played by Ryan Gosling) on the witness stand.

Screen Daily's Lisa Nesselson thinks the film offers an «incredibly frank and involving immersive portrait impressively anchored by an in - every - frame performance from Félix Maritaud.

The mood is also helped by an excellent score by David Holmes that taps into a 70's caper vibe while Soderbergh employs a whole host of stylistic, directorial flourishes; he cleverly plays with the time frame throughout the narrative with complex use of flashbacks and freeze frames and puts a fresh spin on film noir.

One of many interesting stylistic choices by director Irvin Kershner and cinematographer Haskell Wexler, who shot the film in gorgeous high contrast black - and - white with the warts - and - all insouciance of a documentary, is to present this reunion scene sans dialogue (which is buried by train noise)-- with Billy and Pio framed in the oval window of the train door.

Full Metal Jacket, produced, directed and co-written by Stanley Kubrick, is not an easy film to watch, but from the first frame to the last, it is a riveting one.

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.

The cinematography, by Rachael Morrison (who worked with Coogler on Fruitvale Station and Dee Rees on Mudbound), is breathtaking — she captures the spirit of the wilds of Africa while also framing the film's action sequences beautifully.

This film is based on a 2002 novel by Sono, and though the adaptation came out the same year as his magnum opus Strange Circus (2005), it's clear that in that three year gap he learned a lot about restraint and framing.

Also hampered, for those that saw it in 48 fps, by the shiny, overlit, hyperreality of Jackson's much - touted high frame rate, «Unexpected Journey» is the best of the «Hobbit» films, but still only a pale shadow of its high - watermark forbear.

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.

To add a slight spin on the generic tale, this film framed the motives of the hill people by expanding on the idea that these genetic deformities were done to them by the government and their experiments, giving motivation for them to seek vengeance across anyone leading «normal» lives.

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.

The elegiac use of the film's title, then, can inadvertently be the game administered as a test as concerns this portrayal of Turing — by the final frames, we have a mere gasp of understanding what his life was like, a rough, nobly hewn composite from a perspective either too ignorant or too uneasy to deal with the realities of those historically treated as sexual criminals.

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 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.

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 film is framed as a documentary — think The Office or Best in Show — and follows Harding from the trailer park with her foulmouthed mother (played by Allison Janney, who is already generating Oscar buzz) to the skating arena to the infamous Nancy Kerrigan hit that would define her life from there on out.

Twin storylines play out in parallel time frames in The Debt, the latest film by John Madden (Shakespeare in Love).

Working from a fluid script by David Magee (Finding Neverland), Lee frames the film with the adult Pi (Irrfan Khan) telling his story to a Canadian writer (Rafe Spall).

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.

Gleeson plays a fellow survivor and both actors were required to lose almost two stone from their already slender frames for their roles in the film, which is directed by Angelina Jolie.

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.

The film, distributed by The Film Arcade, ended the three - day frame with an estimated strong average of $ 30,084 per screen.

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.

The entire film is a musical framed around songs by ABBA, the Swedish rock group popular in the 1970s.

By the end of the film, every frame becomes imbued with meaning, and you want to revisit it again as soon as possible to catch all the details that you might have overlooked the first time.

The appeal of the film is manifold - its serenity as The American meticulously goes about his craft; the paucity of dialogue that heightens its few action sequences when they do occur; a superb ensemble of actors led by Clooney that also includes Violante Placido (Clara), Thekla Reuten (assassin), Johan Leysen (controller), and Paolo Bonacelli (as a local town priest); the artistic framing of the film by director Anton Corbijn both in its interiors and the long shots of the Italian settings; and simply the story's uncertainty that grips one from its very beginning.

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.

This is by far Pixar's best looking film to date, brimming with indelible imagery, each frame sun - kissed and sparkling.

In Chloé Zhao's resoundingly human film The Rider, the narrative is framed as both documentary and drama focused on 20 - year - old rising rodeo star Brady Blackburn (played by Brady Jandreau) as he undergoes a crisis of identity.

If you see a moody pattern emerging on the type of films they've worked on, you'd be on the money; the pair, influenced by folks like Krzysztof Penderecki, Terry Bozzio and even later - day dark and doomy Scott Walker, traffic largely in droney and disquieting soundscapes, specializing in that sweet spot where discordant sounds subtly burn in the back of the frame rather than overpowering the narrative.

They do such amazing work constructing these wonderful films by hand, retouching frame - by - frame, moment - by - moment, creating everything from scratch and animating it painstakingly day - after - day.

While Robinson's film isn't always a successful combination (the repeated return to an inquisition led by Connie Britton to frame the timeline of the Marstons nearly suffocates an otherwise fascinating, but fragile spell), and is clearly not trying to be as transgressive in form as its subjects were in reality, Professor Marston and the Wonder Women is still a formidable recuperation.

In Aardman's cinematic absence, others have kept the art of stop - motion alive; among this year's Animated Feature Oscar nominees are two films — Henry Selick's Coraline and Wes Anderson's Fantastic Mr. Fox — made in the painstaking frame - by - frame format.

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.

The first, derived from Da Roma's work with Antonioni, is a sharp - cutting style framed by the film's architectural environments.