Not exact matches
Television
cameras bouncily try to
follow the
action.
This bombastic
follow - up delivers everything you'd expect from a Michael Bay sequel: big
action, bad jokes and lots of circling -
camera shots.
Afro is faster than the speed of the
camera, which not only can barely
follow him but rarely finds the
action.
Only a subplot involving a pair of crooked local cops and the two brief, vigorous
action scenes — shot largely with the
camera following the assassin Portnoy from behind, her black wig in the center of the frame — give a glimpse of what Florentine is capable of.
He finds and exploits these moments as the
camera follows every
action in the house, quietly embracing and exhibiting the grim environment.
When a
camera move is imposed on the
action rather than just
following or accenting it, something very interesting happens.
The director, Francis Lawrence seems to have a much steadier hand behind the
camera, and the
action in Catching Fire is much easier to
follow, and as a result, more exciting to watch.
I found some of the close quarter
action a little hard to
follow, and I didn't appreciate the amount of hand - held
camera use during these moments either.
I love the del Toro, at times, lets the
camera just
follow the
action and not cut.
The
following quote from Ryan Coogler, writer and director of Black Panther — a superhero blockbuster — on working with Rachel Morrison, supports the notion that there is no reason for the dearth of women cinematographers behind the
camera when shooting
action — or any other kind of scene.
There's a really good start to an
action set piece that has the
camera smoothly
follow what's going on between T'Challa, Nakia (Lupita Nyong» o), and Okoye (Danai Gurira) as they battle Ulysses Klaue (Andy Serkis) and his men.
What
follows is well acted and entertaining, though I did have a problem with the shaky
camera work during the arena
action scenes, and some of the visual effects looked cheap.
The
camera follows the
action without interruption and sometimes with seeming impossibility of movement, such as when it
follows a man diving through a window or weaves in and out of a car during a chase / shootout down a busy street.
The
camera angle is only locked statically in the birds eye view like that for Multiplayer... if you are playing a singleplayer game, you can have it zoomed in on the
action and
follow Mario, like classic 3D Mario style.
His
camera follows the
action from one Avenger to the next, showing this battle sequence in all of its glory.
Director Ridley Scott's Blade Runner, originally released in 1982, was not an initial box - office success, though since then it has earned a well - deserved
following for its blend of science fiction,
action and metaphysics, as well as for its awe - inspiring production design and in -
camera visual effects.
Have fun trying to
follow the hyperkinetic, ultraviolent
action sequences where the
camera tilts, cuts, wheels and deals more than the campy 60's Batman show.
The Metal Gear Solid V: Ground Zeroes first - person PC mod — which you can see in
action courtesy of Ben Blatcher — straps the in - game
camera to Naked Snake's * naked face instead of to the strange flying person who's always
following Snake and panning down to his butt at inappropriate times.
The two most screechingly annoying
camera techniques used in modern
action films are the
following: (1) the blurred motion shot, and (2) the shaky - cam in - your - face battle shot.
TeachingChannel doesn't
follow the «webinar» format, but it does a great job of creating video - based PD sessions that get the
camera in the classroom, allowing you to watch strategies in
action with real students and real educators.
We use a very dynamic
camera that shakes a lot during the
action to add life to the
camera giving the impression of an
action news cover team
following Jade.
It would have been amazing for the gameplay and replay
camera angles to include a helicopter
camera angle from high above the circuit
following the
action with the sound effect of the helicopter in the audio mix.
The heat
actions, of which granted some much needed variety to the simplistic brawling of past games, have been replaced by heat sniping
actions, of which once activated will trigger a QTE, which once successful will see you, amongst other things, blowing up cars or bringing down signs on top of any nearby enemies, all
followed with dramatically cinematic
camera work.
You have a fixed
camera that
follows the
action from a distance and allows you a pretty good view of the field itself.
It features: — 3D real - time sandbox game built with Unity game engine — metallic shader, lighting, particle effects, lens flare, explosions, fx — space combat RPG with extensive skill tree — open and living universe where 600 + ships fly around autonomously — epic story with dialogue system that allows real choices — recruit 6 wingmen and 2 can fly with you at a time — even discover romance with another wing pilot — recruit 5 corporate pilots who can fly trade routes on your behalf — trade, fight, mine, pirate, scan for derelict ships and wormholes — many mission types: epic, freelance, dynamic, wingman acquisition, faction loyalty — deep combat mechanics, AI, and faction standings — 20 + ships, 180 + modules, 33 solar systems with a unique
follow - through - warp mechanic — 15 + factions to vie favor or destroy — cinematic
camera shows you the
action when it happens — fly manually with or without Newtonian physics or use autopilots exclusively — 22 track theatrical - quality award - winning soundtrack by renown composer, Sean Beeson — cloud save lets you continue your game at home or on the go MEMORY: Dangerous uses a lot of memory during play, so if you have an older device, please close extraneous programs and reboot prior to playing.
There was one objective where I had to fight with the opposing goalie that proved to be extremely difficult not only because of the requirements and the time limits, but because the
camera always
follows the
action and you can't start a fight when you have the puck.
, 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.
• Assemble and set up shooting equipment • Plan prepare and rehearse scenes •
Follow camera scripts • Frame and capture
action • Respond to directions • Liaison with lights and technical staff • Resolve framing issues • Structure shots within the lens