Sentences with phrase «frame the shot at»

We see close - ups of the pyramids» steep stairs and intersecting planes — especially in tightly framed shots at Tenayuca — that seem to have initially inspired a pursuit of diagonal lines and planes.

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.

Decked out with silver floral engraving, a two - tone red - and - black frame and a rosewood handle, the P238 Lady was a debutante at the 2011 SHOT Show in Las Vegas.

It also has automatic image stabilization, a burst mode that can shoot 10 frames - per - second and slow motion 720p HD video — up to at least 120 frames - per - second.

And it announced a new spherical camera called Fusion, which can pull out any still or moving image from the spherical footage — a feature called OverCapture that essentially makes it possible to shoot in multiple directions at once and frame your photo or video after you shoot it.

Aimed squarely at the bird is the Phantom, a camera originally invented for ballistics research that can produce ultra-slow motion video by shooting at about 4,000 frames per second.

Mike Foltynewicz only has 248 career innings, but he's given up 1.4 homers per nine over those frames, so, yeah, Thames has a pretty good shot at 14 bombs, especially since Atlanta's bullpen hasn't been much better at keeping the ball in the park.

He has a good frame and skill level and can score at all three levels, but isn't a great playmaker or physical finisher and is overreliant on midrange shots.

Spieth, with a T10 finish in his final PGA tuneup at Firestone last week after firing a final - round 4 - under 66, had his bid for the calendar grand slam come to an end when he came up one shot shy of making it to extra frames at St. Andrews.

If you shoot at an odd angle, the design on the card can look strange, especially when sitting in a square frame.

For example, the natural wood of the old picture frame accompanying this lino print by Cally Conway brings texture to the product shot, complements the natural subject matter of the print, and reinforces the idea that this print is special — it's one of a kind, not something you can just pick off the shelf at Ikea.

Some of the mind - boggling features include shooting from two angles at once by connecting via your smartphone over Wi - Fi and shooting at an insane 240 frames per second thanks to Panasonic's one - of - a-kind Crystal Engine.

Made with a solid steel frame and a durable rubber band, the Daisy Outdoor slingshot is capable of fast shots at a distance and can be used for anything from hunting, to deterring wild animals, to recreation.

The whole process happens too fast for imaging technology to visualize in real time — you'd need to shoot at 1,200 frames per second, 10 times faster than the best x-ray and MRI machines on the market.

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.

They looked at the shot duration in various scene shots as well as the relative size of a focal character within each of these frames, i.e. shot scale.

In slow motion - in video originally shot at a thousand frames per second but played back here at 30 frames per second - we see the initial suspension lines deploying out of the pack and taking the parachute backwards where it will ultimately inflate in nearly half a second.

, not at all, it was because of the chronic low - grade stress Susan had been living under for many years, and the panic attack was induced now by an extra shot of adrenalin (epinephrine) and cortisol, the two main stress hormones, which were effecting her small frame.

Despite being shot at 24 frames per second and showing «1080p» on the back cover, these Blu - Ray discs are encoded at 1080i at 30 (or 29.97 if you want to get technical) fps - while most of it still looks good (without any noticeable banding or compression artifacts) there are a few de-interlacing artifacts present in some scenes as well as aliasing.

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)

VIOLENCE / GORE 6 - In three scenes, one man shoots another man between the eyes below the frame; we see the gun aimed at the forehead and the camera pans upward to hide the victim as we hear a loud shot each time and after each shot, the camera cuts to a long shot of each victim, lying on one side with the head hidden behind the body and no blood flow is seen.

Scorsese and cinematographer Rodrigo Prieto, working with editor Thelma Schoonmaker, try a little of everything visually, and individual shots are stunning (note the way Neeson enters the frame in his first shot, at the boiling waters of Nagasaki).

The editing, while fairly traditional at first, becomes increasingly frenetic, with subliminal shots (was that a face?!?) and freeze frames at the moment you least expect them.

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.

In the penultimate shot, dead Lincoln is lying on a small bed, nestled as a baby, his face quite calm, it is obvious that his murder has not astonished him; then in the final scene at the Capitol, Lincoln is standing erect, in action, delivering a speech to the multitude in the middle of the frame.

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.

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.

Intimately played but shot at a professional distance, Life chills everything with a steely winter palette; the effect is to bring Stocks most famous frames to life with slightly more depth of field than depth of feeling.

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.

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.

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.

Jackson shot the movie at 48 frames per second compared to the standard 24 frames per second most movies are shot in.

With its carefully framed widescreen shots and understated soundtrack music it is at times perhaps a bit too tasteful for its own good.

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.

It's your usual assortment of production anecdotes, but Wynorski is pretty good at screen - specific observation, cluing us in on which shots required the most work behind the scenes — like the tracking shot through the furniture store that forced stagehands to move furniture into place and stay out of frame as the camera rolled backwards through the set.

A couple of longing, lingering moments shot through snow - wet car windows and in Edward Hopper - framed hotel rooms (it's Haynes's most Wenders work), as well as a final shot that is the picture at its most evocative and unapologetically Romantic, point to the film that might have been.

Shot in incredibly high resolution at 120 frames per second and screened in 3 - D, the final product has gotten mixed reviews, with some saying it's too hyper - real to be an enjoyable filmgoing experience.

In a shot that quickly will become a shining example of what Haynes does well throughout the series, he quickly establishes the financial stability of the Pierce family by casually letting the camera glide over a wall with framed photos, certificates and blueprints that informs us that Bert is at the helm of a prosperous real estate firm.

The footage above is docked, but the game arguably looks at its best in portable handheld mode — the 720p resolution holds up better there, and the game seems to run with an unlocked frame rate, shooting for 60 fps and sometimes getting there with uneven but decent performance.

Made with only nine precisely timed and framed shots, each rotated laterally 45 degrees from the previous shot, it chronicles Liu and her parents at work in their kitchen as they make and eat dumplings for dinner.

And until then, the film is so remarkable at synching its picturesque style to Moonee's seemingly limitless freedom that the one time they do fall out of sync feels jarring, almost offensive: In long shot, Moonee and her friends charge past a series of stores and toward the promise of ice cream, and even after the children have exited the frame, the camera lingers on the sight of an obese person on a scooter riding in the other direction, the sound of the scooter going over a speed bump nothing more than a punchline, an easy potshot, at the expense of a person who isn't even a bystander to Moonee's life.

Tim Sutton's Dark Night, a «mock - documentary with elegantly framed tableaux», received mixed reviews but brought the Aurora cinema shooting to centre stage at the festival.

Vilmos Zsigmond, who shot three of Woody Allen's recent films (Melinda and Melinda, 2004; Cassandra's Dream, 2007; You Will Meet A Tall Dark Stranger, 2010), said in an interview that Allen is more concerned with story and performance than the visual aspects of his films, and that he wouldn't look at frame while shooting unless Zsigmond encouraged him to do so.

A few shots exhibit more damage, and I noticed at least one missing frame, around the 3:07 mark.

Yesterday we happened to run a featurette exploring director Ang Lee «s use of new technology that allowed the film to be shot at 120 frames per second (FPS).

The film is also shot in a process that's is explained as such: normally film goes through a projector at the rate of 24 frames through the gate per second.

Shot in a very traditionally dark, leading fashion, the framing often points towards an easy scare but usually throws something else at you.

The film, with backlit shots of pilgrims strolling across twilit hillsides exhibiting amazing detail, has never looked brighter, so the few instances that the dragon is inserted into the frame betray the sort of sharp lines that James Cameron would finally address in Terminator 2 with his own animation blurring techniques, replicating the imperfections of the human eye at a distance and while observing motion.