Sentences with phrase «for photography and film»

Not exact matches

Canadian Rodney Graham has won deep respect for the rigorously intellectual quality of his art, which ranges through photography, film, video, music, sculpture, painting, and writing.

Battinelli started his photo journey in 1995 when his father, an amateur hobbyist photographer, bought him a Pentax P30T 35 mm black and white film camera for Christmas so that he could take photography classes in high school at Peru Central School.

We researched and reviewed the best drones for filming and photography to bring you a top ten list of superior models on the market.

Whether your usual work is filming weddings or you're looking for the best camera for real estate photography, everyone searching for camera drones wants a quality device capable of getting great pictures and video.

Tony followed some professional photography courses (that he paid for) online, but by and large is a self taught photographer (just as I am), who has been extremely passionate about taking pictures for more than twenty years now (he started out snapping back in the days of film cameras).

Guru's area of expertise is mainly High Definition Makeup, but he also works with makeup for fashion and photography, brides, parties, TV, films, theater, and hair stylists.

In addition to his photography Vivanco has branched out into film, shooting videos for Dolce & Gabbana, Cesare Paciotti and Pull & Bear.

London About Blog Come see why the multiple award - winning team of Mick and Ash at Miki Photography are sought - after in London, the U.K. and internationally for their seamlessly captured wedding photographyPhotography are sought - after in London, the U.K. and internationally for their seamlessly captured wedding photographyphotography and films.

About Blog IronBird Aerial Cinematography Ltd is a leading UK provider of remotely piloted drones for the use of aerial photography and aerial filming.

Gurgaon, India About Blog An amalgamation of TRAVEL insights, an in - depth look at the FOOD industry, PHOTOGRAPHY, FILM and BOOK talk, and a melange of other topics, discussions, and thought pieces with the occasional sarcastic HUMOUR thrown in for good measure.

Upon graduating i worked as a film lab tech, went to bar tending school, managed a convenience store for 6 years, etc i love photography and the out doors i also enjoy studying plants and animals, i...

My passion for film photography and life in Oxford is reflected in my photo blog.

SkyFlight caters for small / medium size businesses and individuals not the film industry therefore we can keep costs to a minimum using a state of the art low profile drone for photography and video up to 4K.

A home for film, music, art, theater, games, comics, design, photography, and more.To date, tens of thousands of creative projects — big and small — have come to life with the support of the Kickstarter community.

Drone 55's aerial services include, view study photography, photo and video backplates for 3D architectural conceptual visualization and animations; aerial photography for marketing, aerial cinematography for film, television and commercials; and video marketing for real estate.

Commentary 3 — The Picture - Director of Photography Darius Khondji, Prodcution Designer Arthur Max, Editor Richard Francis - Bruce, Richard Dyer and David Fincher talk about the look of the film itself, the color processes used on the print, the locations scouted for the various shots, the detail used in the studio backlot constructions, the style David wanted to achieve and succeeded in doing, the clothing, the grittiness, the absolute black Fincher always wanted in Alien 3 but could achieve until now and more.

The film is based on the book by Laura Hillenbrand on Zamperini, the Coen brothers are co-scriptwriters, and Roger Deakins (No Country for Old Men, True Grit) is the director of photography.

Warner's confidence in this ambitious film is not unfounded, as Ron Howard has constructed a film that is not only hugely enjoyable, but big on technical achievement, and while the film may not be banging on voters doors over the coming weeks in the main categories, expect to see nods for the glorious effects, sound and the photography.

According to The Hollywood Reporter, one of the reasons that the budget on «John Carter» went so high is that director Andrew Stanton, used to reworking films while at Pixar, «embarked on extensive and costly reshoots» (something fervently denied by the helmer, who called it «a complete and utter lie,» saying that Disney had let him go for longer reshoots because his principal photography had come in on time and on budget).

Adam Arkapow, the talented director of photography who has worked with both Kurzel and Fassbender in the past, creates an exceptional pallet of colour for the look of the film, especially for the scenes set in the 15th century — a section where the film is at its absolute best.

Darius Khondji's lovingly composed photography at least makes the film a serviceable travelogue, although its digital crispness is no match for how Zhao Fei captured the dusty magic of the»20s in «Sweet and Lowdown.»

After the war, he continued to work as a director of photography and was noted for his exquisite work on the films of John Ford.

Les Misérables certainly looks strikingly different than most of the other Broadway musical - turned films released in recent years, thanks to some picturesque visuals and unusual camera angles conjured up by director of photography Danny Cohen (who received an Oscar nod for his similar work on King's Speech).

For the supplemental materials, there's an excerpt from the documentary Michelangelo Antonioni: The Eye That Changed Cinema; Blow - Up of «Blow - Up», a new documentary about the film; two interviews with David Hemmings, one on the set of Only When I Larf from 1968, and the other on the TV show City Lights from 1977; 50 Years of Blow - Up: Vanessa Redgrave / Philippe Garner, a 2016 SHOWstudio interview; an interview with actress Jane Birkin from 1989; Antonioni's Hypnotic Vision, featuring two separate pieces about the film: Modernism and Photography; both the teaser and theatrical trailers for the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration detaiFor the supplemental materials, there's an excerpt from the documentary Michelangelo Antonioni: The Eye That Changed Cinema; Blow - Up of «Blow - Up», a new documentary about the film; two interviews with David Hemmings, one on the set of Only When I Larf from 1968, and the other on the TV show City Lights from 1977; 50 Years of Blow - Up: Vanessa Redgrave / Philippe Garner, a 2016 SHOWstudio interview; an interview with actress Jane Birkin from 1989; Antonioni's Hypnotic Vision, featuring two separate pieces about the film: Modernism and Photography; both the teaser and theatrical trailers for the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration detaifor the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration details.

The film's deliberately languorous pacing and stunning photography make for an intoxicating and detailed look into such broken and melancholic lives.

The Cinematography Award: U.S. Dramatic was presented to Bradford Young for two films he was Director of Photography on: Ain't Them Bodies Saints, directed by David Lowery, and Mother of George, directed by Andrew Dosunmu.

Kapadia gets points for the luscious photography of the Caucacus mountains (photographed by Nuri Bilge Ceylan regular Gökhan Tiryaki), to which Ali and Nino escape, and a believably rugged turn - of - the - century Baku (filmed in Azerbaijan and Turkey).

The October Sky director will helm the 32 days of additional photography for the fantasy film, which stars Mackenzie Foy, Keira Knightley, Helen Mirren, Morgan Freeman, and Misty Copeland.

The creative constraints assigned to the directors — each required to shoot her film as a continuous shot, and given one day apiece for principal photography — sometimes serve Waru's amazing production narrative more than the tales at hand.

It's a film that still bears the mark of a young filmmaker looking for his voice (Scott largely based the photography on what Kubrick did in Barry Lyndon), but this tale of two military officers and their decade - long rivalry is thrilling nonetheless.

Extras: Audio Commentary with director Mick Jackson, moderated by film writer Kier - La Janisse and Severin Films» David Gregory; «Audition For the Apocalypse»: Interview with actress Karen Meagher; «Shooting the Annihilation»: Interview with director of photography Andrew Dunn; «Destruction Designer»: Interview with production designer Christopher Robilliard; interview with film writer Stephen Thrower; US trailer.

Extras: Two audio commentaries from 2003, one featuring director Ken Russell and the other screenwriter and producer Larry Kramer; segments from a 2007 interview with Russell for the BAFTA Los Angeles Heritage Archive; «A British Picture: Portrait of an Enfant Terrible,» Russell's 1989 biopic on his own life and career; interview from 1976 with actor Glenda Jackson; interviews with Kramer and actors Alan Bates and Jennie Linden from the set; new interviews with director of photography Billy Williams and editor Michael Bradsell; «Second Best,» a 1972 short film based on a D. H. Lawrence story, produced by and starring Bates; trailer; an essay by scholar Linda Ruth Williams.

Principal photography for the film commenced just recently, and with Zoolander 2 on deck this year as well, I'm beginning to have high school flashbacks of spilling my popcorn at my multiplex from laughing so hard.

«Bassaler's doc covers The Misfits and Capa with great aplomb: the film is nicely divided between still and moving images, propelled by interviews with photographers and others involved with the great productions that were documented... For lovers of great visual art, whether in film or photography» — Marc Glassman, POV Magazine

The film was a financial and critical flop in the U.S.in 1967 but its reputation has grown in the years since for its intelligent script (adapted by screenwriter Frederick Raphael, who won an Oscar for Darling, also starring Christie), sumptuous photography, and fine performances.

It should be noted that additional photography after principal photography wraps is not at all unusual (especially for Blumhouse productions, according to Bloody - Disgusting), as most films go through this process and it should not be cause for worry.

Blessed with excellent memories, Stiller and Childress — present for every day of principal photography at Stiller's behest (and sometimes her chagrin)-- recall the shoot in vivid detail, whether it be the order in which scenes were filmed or the mood of the set on a particular day.

DVD Extras: Music videos for «Iron Man» by Nico Vega and «Fade» by Egyptian, the film's trailer, a selection of deleted scenes including an equally unsatisfying alternate ending and a mind numbing audio commentary with writer / director Matthew Leutwyler, director of photography David Jones and writer Gillian Vigman.

As an offering of «slow cinema,» Vandendriessche is no Nuri Bilge Ceylan, and though this film's strength ironically resides in its digital photography, Vandendriessche lacks the natural intuitiveness for his images to leave any lasting impact beyond their aesthetic assuredness.

Drinking Buddies is somewhat of a crossover from micro-indie films into a larger budget film for Joe Swanberg; it contains a well - known cast (Olivia Wilde, Jake Johnson, Anna Kendrick) and much higher production values (having a dedicated director of photography, etc.) than his previous 14 films.

PARAMOUNT PICTURES and SKYDANCE Present A SCOTT RUDIN / DNA FILMS Production NATALIE PORTMAN «ANNIHILATION» JENNIFER JASON LEIGH GINA RODRIGUEZ TESSA THOMPSON TUVA NOVOTNY and OSCAR ISAAC Costume Designer SAMMY SHELDON DIFFER Music by BEN SALISBURY and GEOFF BARROW Visual Effects Supervisor ANDREW WHITEHURST Edited by BARNEY PILLING Production Designer MARK DIGBY Director of Photography ROB HARDY BSC Executive Producers DAVID ELLISON DANA GOLDBERG DON GRANGER JO BURN Produced by SCOTT RUDIN, p.g.a. ANDREW MACDONALD, p.g.a. ALLON REICH, p.g.a. ELI BUSH, p.g.a. Based on the Novel by JEFF VANDERMEER Written for the Screen and Directed by ALEX GARLAND SOUNDTRACK ALBUM AVAILABLE ON LAKESHORE RECORDS / INVADA RECORDS AnnihilationMovie.com © 2018 Paramount Pictures.

Although the inky black - and - white photography recalls Gordon Willis's work in Manhattan, the film is much more in line with the modest tragicomedies of the French New Wave, with Frances figured as a better educated but just as coarse American cousin to Truffaut's Antoine Doinel, apologizing at one point for not being much of a «real person» just yet.

The Appendices — A multi-part chronological history of the filming of The Hobbit: An Unexpected Journey, covering pre-production in the various departments of the film in the months leading up to the start of principal photography, the boot camp training for the main cast, the work done on set chronologically through the three shooting blocks and in the world of its digital effects.

Shot on grainy 16 mm film («Drinking Buddies» was shot digitally), the look of the film (lensed by Ben Richardson of «Beast of the Southern Wild» fame) is definitely a step backwards, and it appears as if the filmmakers only used available light, which doesn't make for the most flattering photography.

The film reunites Eastwood with several of his longtime collaborators, who most recently worked with the director on the worldwide hit «American Sniper»: director of photography Tom Stern and production designer James J. Murakami, who were both Oscar - nominated for their work on «The Changeling»; costume designer Deborah Hopper; and editor Blu Murray.

It's a sweet, small, beautifully written film, everything that we know and love about Anderson — the geometric framing, the»70s AM radio rock hits, the ironic non-sequiturs, deep focus photography, the comedy of depression — is all there for the taking.

The third film in the John Wick franchise reportedly has a director and an expected start date for principal photography.

The least visually interesting of the bunch, you kind of wonder if the Academy was just taken with the film's landscape or if this was the result of some carryover love for Patton with Islands reuniting director Franklin J. Schaffner and director of photography Fred.

A Far Off Place features some beautiful African photography, probably in part to first - time director Mikael Solomon, who earlier worked as a cinematographer for such films as The Abyss and Arachnophobia.

Some of the night time photography is bone - chillingly gorgeous, and this may be Reichardt's most visually refined film to date, but the script slips off the edge in its third act, providing little food for thought.