Sentences with phrase «in shot composition»

Now, the first step in shot composition is: always know where the sun is.

And there's a helpful overlay, Camera Grid, which renders Phi and Fibonacci line patterns in the Honor 8's viewfinder to assist in shot composition.

The camera shots in this sequence are well - composed with a crisp variation in shot composition.

Not exact matches

What makes this book so radical — and thought - provoking — is its ingenious composition: fifty dart - like essays that shoot to the heart of an equal number of components of public health in the current age.

The U.S. team began playing with the photo compositions — putting some of the food slightly out of place, including a hand in the shot, and so on.

After inspiring millions of people worldwide with its successful landing in a crater on the Red Planet on Aug. 5, 2012, PDT (Aug. 6, 2012, EDT), Curiosity has provided more than 190 gigabits of data; returned more than 36,700 full images and 35,000 thumbnail images; fired more than 75,000 laser shots to investigate the composition of targets; collected and analyzed sample material from two rocks; and driven more than one mile (1.6 kilometers).

The changes in average cranial capacity from Morton's seed - based measurements to shot - based measurements can not be reconstructed with any certainty, incorporate erroneous seed measurements made by Morton's assistant, yielded a broad range of changes (− 10 to +12 in3) hidden by Gould's mean, and are confounded by the shifts in sample composition (circa 50 %) between the two rounds of measurement.

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.

The movie's frequently stunning compositions (shot by Penn and Eric Gautier) reveal not only Chris» ruminations as he appears framed by windows on his bus, hiking through magnificent forests or kayaking a rambunctious river to Mexico — but also his inability to immerse himself in the wilderness he cherishes and respects.

The CinemaScope process was well used here, with panoramic shots of Manhattan accompanied by Newman's entire orchestra performing his composition Street Scene in prolog and epilog shots.

German filmmaker Tom Tykwer (Run Lola Run) noodles around with form, composition, and sexuality in 3, a playfully pieced - together, beautifully shot, and secretly ridiculous drama about a triangular relationship among blasé Berliners.

The compositions stress the location over the people, dwarfing them in wide shots of ornate rooms, or leaving them off - balance in tilted angles which necessitate constant re-oriention.

Pakula's compositions are even painterly in their appearance, where certain long static shots showcase hardly mobile characters surrounded by vast negative space.

Much as he downplays the human overseers of the park, Côté never obscures his own hand in the proceedings: The disorienting reverse shot of the drawing woman through the stuffed beast's antlers is the first of countless droll (and uncomfortable) compositions that forces us to wonder if documentarians and spectators are really so far from taxidermists after all.

Extras are, per Anderson's M.O., exasperatingly abstract: The cover copy refers to the bonus features as «special trailers,» but one is just a deleted scene of Shasta and Doc watching the waves lap against the shore at dusk (their lips are moving, but a dreamy Greenwood composition mutes everything they say), while the fourth and final, «Everything in this Dream,» is an artful 6 - minute montage of cutting - room scraps, including a few shots of Doc and Sauncho watching a schooner leave port that could be construed as the ending from Inherent Vice the novel.

Quietly funny and unexpectedly frightening, Like Someone in Love is also one of the more forthright demonstrations of Kiarostami's Bressonian mastery of sound as a tangible property: the opening shot alone is a masterclass in sound editing, and not too shabby a lesson in composition, either.

, but I can say that — all other things being A-OK — it all comes down to directorial concentration and economy: camera placement, movement, composition and (as I detailed in that Spielberg piece from 1982) how adeptly the movie gets from shot to shot to shot.

Director Dale Berry doesn't show much concern for things like blocking and shot composition, with characters occasionally standing in front of the camera and blocking the audience's view.

The Spierigs shoot the bulk of their picture in scrinched - up telephoto compositions, piling the actors on top of each other.

A combination of low budget, crappy CGI and uninspired shot composition means that this film is not in the least bit flashy to look at.

In Parliament, he shoots from drastic angles, adding dramatic shafts of light to give his interior compositions added dimension.

Perhaps it's a question of shot selection, as Gray — who has a painterly, shadowy visual style, often reminiscent of the great American films of the 1970s — has stuck to a largely emotional logic in earlier films; his compositions are wide or tight to reflect how characters feel.

But it's important to recognise the performances of the two leads in particular: Lawrence's besotted and committed nurturer and Bardem's benevolent and caring creator perfectly portray the themes that Aronofsky is going for here and his compositions and close - up shots of both actors allow them to subtly take command of their roles.

Guest poster Joel Gunz looks at the shot of Madeline standing under the Golden Gate Bridge in terms of composition and cinematography, as well as artistic antecedents and psychological readings.

Like Ida, it is shot in Poland (though its second half takes in Germany, Yugoslavia, and France) and its dazzling monochrome compositions favour placing actors low in the square frame and achieving IMAX impact by oppressing them with towering structures and huge, weighty skies.

Rohmer's style is both more lush (shot in rich colors by Nestor Almendros) and less intimate than his previous romantic comedies, directed in painterly compositions from a removed distance.

Fluk's compositions are at once chilly and sensual, with a European art cinema buff's attention to bodies, and there are lovely moments throughout: James and Jonah in a swimming hole, scanning the water's surface in search of fish; James and Sam's regret - soaked slow dance at a community center social; a tracking shot that trails Jessica through a grassy field as she looks back teasingly at the camera.

And when Siri shares in Fincher's delight at carefully mapping out his film's interior spaces, he accomplishes this not with elaborate, CG - enhanced dolly shots, but with the same crisp, angular, deep - space compositions he employs throughout the rest of the film.

Her past films, including Somersault and Lore, demonstrated her visual talents — especially a conscious variety in framing and shot composition — which deepen the vivid impressions left by the dark subject matter.

In the case of Gun Fury, this includes shoot - out choreography, barroom composition, and the heightened depiction of forward motion, from galloping tracking shots to camera angles staring down a row of reigns as horses sprint headlong over the desert terrain.

Also, on the plus side the cinematography is done well, and D.O.P. Christopher Ross deserves a lot of credit for how good this film looks, with its bright colours, brilliant shot composition, and breath - taking use of the English Countryside in order to immerse us more in this small seaside town.

From the opening scene, an almost monochromatic chiaroscuro composition with strong diagonal lines (it was shot in an actual snowstorm), it's clear that Arrow's 1.85:1, 1080p transfer, sourced from a 2K scan of the original camera negative, is on the money.

In overuse of an artsy effect that wore out its welcome a decade ago, our eyes are bombarded with great swimming balls of refracted sunlight; portions of some shots — and entire compositions in one or two others — are washed out by overexposure, and a couple shots are even out of focus (no, it wasn't the theatre's projector) to no purpose whateveIn overuse of an artsy effect that wore out its welcome a decade ago, our eyes are bombarded with great swimming balls of refracted sunlight; portions of some shots — and entire compositions in one or two others — are washed out by overexposure, and a couple shots are even out of focus (no, it wasn't the theatre's projector) to no purpose whatevein one or two others — are washed out by overexposure, and a couple shots are even out of focus (no, it wasn't the theatre's projector) to no purpose whatever.

Sammo Hung's choreography, with fight scenes shot as cartwheeling flurries of gold, blue, and crimson, is just one of the pleasures in a film that also includes shapeshifting heroines, talking stags, a toppling colossus, cheesy digital compositions, and wacky exchanges («What's a Phantom Bazaar?»

It's probably Mamet's finest film as a director, his widescreen composition is wonderful — there's this one shot where Emily Mortimer's head, in profile, sits in the center of the screen while she talks and it's exceptional.

Singer's composition is precise, each shot — in no small part due to cinematographer Newton Thomas Sigel — has a unpretentious gravitas.

As in his earlier films, including the Palme d'Or winner «4 Months, 3 Weeks and 2 Days,» Mungiu employs a patented style that involves long takes (many scenes entail only a single shot) and eye - level widescreen compositions.

The composition of some shots is breathtaking and, while it is cool being able to sit back in your own home to watch it, I can not help but feel that this would have been an incredible cinematic experience.

Joaquin Phoenix's writhing, unsettling performance is flawless and Paul Thomas Anderson's shot composition in unrivaled.

Darkness by Day, de Salvo's second feature, is beautiful, unfolding in long, contemplative wide shots that in their composition and subject remind a great deal of Victor Erice's The Spirit of the Beehive.

Bad Teacher belongs to a dying breed of films shot in 1.85:1 and not placing that much importance on visual compositions.

The composition, shot selection and the dialogue characterise friendship as the agency for fun, exploration and adventure in a child's life, and become stylistic counterpoints to the notion that social realism in cinema must be bleak and dour to be meaningful.

What attracted critical minds like Jacques Rivette, Eric Rohmer, and others to Nicholas Ray and his oeuvre — bored stiff as they were by the risk - averse, respectable, and ultimately neutered «cinema of quality» — was the stamp of the personal and the element of danger they discerned in his films, whether that meant the improvisatory handling of actors with a touch deft enough to coax remarkable performances out of even non-professionals; the «superior clumsiness,» cited by Rivette in «Notes on a Revolution,» resulting in «a discontinuous, abrupt technique that refuses the conventions of classical editing and continuity»; or the purely visual flourishes Ray relished — ranging from the sweeping, vertiginous helicopter - mounted shots in They Live By Night to disorienting, subjective POV compositions like the «rolling camera» during a car crash halfway through On Dangerous Ground, its very title indicating the source of Ray's critical appeal.

His shot composition is also in service of his broader themes: the desert of Las Vegas bears a deliberate resemblance to the desert where drones fly overhead, except Las Vegas has pockets of water and grass in its backyards.

Shot in Super35, The Uninvited has been «opened up» for home viewing and seems to sacrifice a certain cinematic legitimacy in the process, with compositions becoming generic, Lifetime-esque.

The apes seem to get more realistic and detailed each time I see them in their respective trailers as does the cinematography and shot compositions.

looks is so wonderfully strange, the shot composition so nonstandard and against the grain that it almost puts you off in its early stages.

Dust off your «60s rock records and prepare to frame your compositions directly in the center of the shot: The countdown to the next Wes Anderson film has begun.

The way Ida looks is so wonderfully strange, the shot composition so nonstandard and against the grain that it almost puts you off in its early stages.

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 surfaceIn 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 surfacein separate frames within the frame, or shooting those remarkable faces (the film is a symphony of cheekbones) behind windows or other reflective / transparent surfaces.