Sentences with phrase «frames a shot so»

As the movie grows more far - fetched it actually gets more predictable, in both plot twists and camera setups — you can actually see when Edgerton frames a shot so that a character can get «unexpectedly» slammed by a car.

Not exact matches

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.

One thing Steve also pointed out was the rule of thirds — that's dividing up the shot by thirds so that the framing of a shot feels right when you see the final product.

To make use of this appeal, you should frame up your shot so that you place your subjects or points of interest in these key areas.

Last time I shot, I was going to a fourth floor so I utilized my stroller frame.

Be ready to offer suggestions, but try framing them as questions: «So you want to try shooting baskets on the weekends — would you like me or Dad to play with you?

The camera's optical view finder offers a full 100 % field of view so you can see exactly how your shots will be framed.

Some frames of the recollection are dropped on the mind's cutting - room floor, others are restored and enhanced, and others still are so deftly combined either by our wants or by the vagaries of chance that they create new scenes that were never shot.

Each impact was too fast to see with the naked eye, so they recorded it with a high - speed video camera that shoots up to 40,000 frames per second.

I have finally gone full frame and get great shots, but I watch my wife and kids taking photos with their smart phones and how they post them for show so quickly and get gratifying feedback.

We shot so many amazing pictures in Grand Cayman and Nantucket, it seemed ridiculous to not have some of them printed and framed.

I love this shot so much I want to have it framed!

For every shoot that I am on I gain a better understanding of using natural light, of framing, of giving and understanding direction, of how to get someone to relax in front of the camera and so on.

So the shots above are a 6 which still border on inappropriately short for my 5» 8 ″ frame with non-model gams.

As for that 3D, even though I continue to wallow in my anti-third dimension misery, adamant that the technology is unnecessary and the same effect can be achieved through proper shot composition, during «An Unexpected Journey» the 3D is far less distracting because the frame rate is far more so.

Despite perilously under - lighting a few nighttime sequences, cinematographer Rachel Morrison shoots the country so full of life that it's genuinely hard to believe she didn't film a single frame of it in Africa (for a movie that's full of sloppy CG, the environmental green screen work is astonishing).

Bereft of all but the basic colours, every frame looks picturesque, and a lot of detail has obviously gone into each and every shot, but Nispel clearly put so much elbow grease into the visuals that he forgot to tell a coherent story, or give his actors any sort of direction.

Yes, he constructs various shots as paintings in a frame, but he does so with such a stylish, subtle touch the device never feels forced, and works on an almost subliminal level to enhance the richness of the film's scope.

There's also the cinematography from Roger Deakins, which goes without saying is stunning whether it's capturing overhead desert shots, multiple viewpoints of rundown streets of Mexico filled with gang activity and spray - painted buildings, to exquisite shootouts perfectly framed so viewers always know what is occurring.

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.

(There's a specific cinematic language these films speak; when you hear a certain kind of music cue, or see a shot framed in just such a way, or when a character expresses anything approaching contentment, you'll know it's coming, so gird your loins.)

All the usual tools were no longer there, so my focus was not on how to frame the shot but on what happens in front of the camera.

Morris departs from his head - on camera, an interrogatory framing device for which he is so well known, and instead frequently appears in shot opposite his subjects.

So decided to go off my memories of those films instead and as much as I love them, instead of deliberately quoting them I'd try to go by my childhood impressions of what I'd loved about them, the anamorphic framing, the lens flares, the dolly shots on faces, the way they mixed awe and moments of danger or heartbreak.

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.

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.

Wong's violent interludes are most often brief riots of slurred or slow - motion action alternating unexpectedly with freeze - frames; these sequences, delivered so rapidly one can often barely perceive what's happening, are obviously abstract versions of the action scenes in conventional martial - arts films (The Eagle Shooting Heroes included).

Ten time Oscar nominee Roger Deakins (Skyfall, Fargo, The Shawshank Redemption) works his magic by framing so many of the shots into stunning visuals that tell their own stories as well as shape the story we are watching before us.

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.

Steve McQueen frames this image from a static wide shot, upholding the scene for an age, so that we see people walking past, unable to help or free him.

And it's either too lazy or just not skillful enough to properly frame and shoot the slapstick destruction of a Christmas party, so it makes do with an ugly mish - mash.

The editing is short and clipped, and every shot seems to begin a few seconds after the action in the frame has begun to give the impression that progress is occurring so rapidly that not even the film itself can keep up.

Though the 1.85:1 anamorphic widescreen transfer of the film (full - frame version sold separately) starts out looking scuffed, the speckles clear up after the opening credits — but then edge - enhancement intrudes, and there's a bizarre lapse in quality during chapter 6, when intermittent shots lose so much definition as to suggest second - generation VHS.

The action is perfectly shot, too, using a filter to exaggerate all the colours so that every frame is wonderfully iridescent.

The Dardennes frequently shoot Cotillard from behind or in profile so that we feel the weight of the world pressing down on Cotillard's slim frame.

In this he's abetted by Edward Lachman «s fantastic compositions, so often putting the people in separate frames within the frame, or shooting those remarkable faces (the film is a symphony of cheekbones) behind windows or other reflective / transparent surfaces.

Also worth mentioning but not having a significant effect on the viewing experience: the Blu - ray and new DVD's framing differs slightly from the original DVD's 1.66:1 «family - friendly widescreen» presentation, showing a little bit less height and a little bit more width, leaning ever so slightly in one direction depending on the shot.

The stunning World War II - era saga follows two Mississippi families, one white, one black, with visuals so rich, beautiful and evocative that many shots could be framed as individual works of art.

The director and his DP, Harris Savides, shot the movie largely on digital, but the film so often favours steady, patiently held compositions that allow its actors to move around within the frame and interact with each other, showing spatial relations in much the same way that Fincher is drawing connections between the facts of the case.

One of the things we loved about Pablo's work was how he framed shots; everything was always just so balanced and epic.

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

Even so, that shot of Randi, Primm, and Popoi riding Flammie is a freeze - frame of adorable perfection.

I set up one shot, the same as all of them, and the guy came in chewing a piece of gum, so I told him to keep doing that, and his mouth is just riveting, because there's no other motion in the frame.

«To come up with every image in of this series, I had to photograph the same framing many times, so I could combine people from different shots into one single image,» he explains.

Fortunately, I began learning photography pre-digital so it instilled a principle of shooting which I carry forward today and that is to value each and every frame you expose.

I often frame representational images in extreme close - up, so that it is not at first clear to the viewer what s / he is looking at, only revealing wider shots that show the full scene later - see Dad's Stick from 2012.

A cool thing with your subject taking up so little of the frame is you don't actually need an expensive HSS flash to shoot over the sync speed in daylight, you just have to keep them in the top part of the frame where the flash hits.

I photographed some flowers at a nearby farmers market, and though I couldn't really frame the shots because the sunlight was so bright, the resulting images weren't terrible.

This increase in AI power means more processing can be done on your phone rather than having to refer back to servers in the cloud, so think faster face unlocking and more intelligent image processing for your photos even while you're still framing the shot.

Rather, the camera extends the capture moment to just before and just after the photo, so a few more «contextual» frames are included with each shot.