Sentences with phrase «into cinematography»

In this context, Jafa thought it was safe to have black visual intonation seep into the cinematography.

I can not thank him enough for letting me translate his ideas into cinematography.

Not exact matches

You might not have seen anything he's ever created but you're watching something he's created now and you're seeing his sense of timing, framing, lighting, cinematography, the sentiment, concepts and whether you understand filmmaking or not you can buy into what it is he's doing.

I took the view that, although these other resources teach you about technology tools, they provide little insight into storytelling, cinematography, or production planning.

On the other end, we see shots of Brady finally taking a horse out into the plains at a full gallop, with Joshua James Richard's cinematography giving us naturalistic, unadorned views of the landscape that mirror the simplicity of Brady's objectively small but relatively substantial victory.

Deepens into a far more powerful entertainment through matchless cinematography and talented supporting players.

For as far as the scenery, cinematography and music score goes, this was like delving into a really lush and beautiful painting.

Such great writing, great acting, mind - blowing cinematography, gorgeous audio and painstaking attention to detail go into every single shot.

Add a nice score and beautiful cinematography into the equation and you're left with a highly involving and enjoyable film.

It transports the viewer like no other show can into another world - with engaging characters and beautiful cinematography.

In conclusion, there are melodramatic spells, as well as some focal unevenness, spawned from hurrying past certain plot aspects that really aren't all that needed in the first place, being not much more than supplements to the rather repetitious bloating that makes this overambitious effort too overblown for its own good, though not to the point of completely dismissing its engagement value, as there is enough sharpness to the production designs, cinematography and score work to provide striking style, as well as enough story value, brought to life by inspired writing, direction and acting, - particularly by leading lady Halle Berry - to make «Alex Haley's Queen» a rewarding near - epic study on the struggles faced by the mulattoes who struggled to fit into a post-slavery society that was rich with racial tension and plenty of other life challenges.

But rather than falling into cliché, Hardy's quickening pace, coupled with truly creepy cinematography by Martijn van Broekhuizen and gruesome makeup, creates a surprisingly taut thriller.

How incredibly frustrating it is to see a movie so compelling, wonderfully directed, technically exemplary and with a gorgeous cinematography go into self - destruction mode in the last thirty minutes, when it gives in to predictable revelations and silly situations worthy of a lame soap - opera.

(The film, which plunges viewers directly into the often dangerous action, deservedly won a cinematography award at the Sundance Film Festival.)

Like its title suggests, the film is literally cloaked in darkness, aptly depicted through some fine cinematography work which is additionally impressive and harsh, in a good way, when it ventures out into the light above.

Tapped by Greene to play the role of Christine, Sheil travels to Sarasota (followed by Greene's camera, wielded by Sean Price Williams, whose cinematography is a cornerstone of the contemporary independent cinema) to undertake research into Chubbuck's life and to prepare to play the role of Christine.

Heading up the technical noms, Emmanuel «Chivo» Lubezki is looking to make it three - in - a-row for Best Cinematography with The Revenant, though we would dearly love always - the - bridesmaid Roger Deakins to finally convert a nomination (this year's nod, for Sicario, is his thirteenth) into a win.

If Tarantino fails to gain entrance into the Original Screenplay and Director categories (which would be understandable after all the shade his controversial interviews have thrown on his peers) and the Best Picture field isn't big enough to support this, the film should likely still compete for Best Cinematography and Best Original Score honors.

Though Timo Salminen's 35 mm cinematography suits the tactile romanticism of jukeboxes and cigarette smoke, it doesn't create a hermetic universe of pacifying nostalgia; deep colors dissolve into the melancholy chiaroscuro and dull grays of a decidedly present - day Helsinki.

Shot in black and white, The Party's cinematography turns every facial crease into a chasm and every shadow into an abyss.

Soderbergh's cinematography is, as ever, superb — a shot of Carano and Tatum in the LED light of an airport departure lounge has the world - weary blearily - lit hum of a John Le Carre film updated for our digital age, while a climactic fight under the morning sun on the beachside shore feels like someone dropped a Donnie Yen battle into a Michelangelo Antonioni art film.

Its stunning 2.35:1 anamorphic presentation, supervised by Cundey, does for this film exactly what the Cundey - approved transfer of The Fog did for that film: it resurrects it, transforming a marginal not - recommend in the case of Cimber's film into a marginal recommend based on the strength of Cundey's gorgeous cinematography.

The cinematography, by Jas Shelton, relies on sudden shifts and zooms to re-set perspective, and you soon settle into the same rhythm as the film, where quick realizations mean fast changes of thought.

As if filmed through a thin veil of delicate lace, Michael McDonough's cinematography saturates this religious commune in a glow that renders black (the colour of evil) into a less threatening palate of charcoal and grey.

The year's most nominated film, Blade Runner 2049, turned eight nominations into two wins: Best Production Design and Best Cinematography, rewarding the work of legendary cinematographer Roger A. Deakins.

The cinematography's long shots convey a calmness that is quickly shattered, and along with the music, juxtaposes with the story of the film and the characters in a way that adds insight into the lives of the characters.

Despite gorgeous cinematography and a strong cast, The Lost City of Z is a shallow and overly romantic film that falls into the trap of hero worship.

Needless to say, this hyper - atmospheric art film is a little too reliant on its environment, but the deep snow setting of this lyrically bleak drama was always going to be instrumental in the establishment of both tone and aesthetic value, and sure enough, this film's beautiful environment goes complimented by cinematography by Bedřich Baťka which, while held back by a black - and - white palette, is playful enough in lighting and scope to attract you into this film's handsome world.

There's a lot of care and attention went into this; from Nigel Churcher's rich art direction and Dan Lausten's beautifully rendered cinematography which compliment del Toro's vision and evocation of 1960's Americana.

The intense attention - to - detail, filming only with natural light at the right time of the day (and the cinematography of Emmanuel Lubezki), the amount of work that went into making it, the performances, it's all extraordinary.

The cinematography is beautiful, really turning a rather dull summer home into something more, and takes full advantage of the camera's main drawback — zero peripheral vision.

The cinematography at the beginning is much more observational and hand - held, so you really feel like you are peering into these people's lives, but from a distance.

Despite having a lot of extras riding on horses and crashing into each other, (and rich cinematography) these big battles are bland with unsurprising choreography and lack of interal tension.

This is the first time actor - turned - writer - turned - director Sarah Polley has run a show, and it's a feat that she's been able to wrangle the locations, cinematography, and her scripts into a polished show that would have probably run on Masterpiece Theater a decade ago.

The film is so beholden to the moods and manners of Malick that even its more estimable elements (the acting, the cinematography, the very conceit of making a movie about Abraham Lincoln that focuses exclusively on what's ostensibly the least interesting part of his life, sort of a Younger Mr. Lincoln) are diffused into the ether.

Meanwhile, their economical, decidedly un-flashy direction (mimicking McCarthy's writing, and aided by longtime collaborator Roger Deakins's beautifully severe cinematography) repeatedly conveys narrative undercurrents in entrancingly subtle ways, such that the plethora of animal carcasses, instances of man - versus - beast violence, and Ed Tom's yarn about a slaughterhouse mishap coalesce into a chilling portrait of anarchic interspecies warfare.

The characters act in the way you expect, and despite Cianfrance's attempts to layer the film with long, sweeping moments and beautiful cinematography, it doesn't do much to elevate the story into something more unique, or at least more riveting.

But that was no isolated incident; the entirety of Star Trek Into Darkness carries a lustrous aura with palpable, innovative cinematography.

The cinematography itself was lovely and gentle and really unobtrusive, so that the whole way through, as the the viewer, you are simply peeking into these people's lives and watching through as though through a telescope.

It was well made film, everything sort of fell into place, it did not feel too stylised and incredible cinematography by roger deakins that really tied the film together.

The film's 1080p BD incarnation does have the advantage of a brilliantly sharp transfer, albeit one that throws the cinematography's overlit flatness into painful relief.

Yet, at other times, the cinematography and score seem to delve into the realm of thriller, heightening the tension through quick cuts and dramatic music cues.

On a lizard - brain level, The Conjuring 2 taps into the universal childhood fear of the dark, and some of its simplest moments — like a little girl hiding under the covers with a flashlight — are its most effective, bolstered by skillfully executed sound design and Don Burgess» gloomy cinematography.

The pieces go into detail regarding all the facets, from military - advised weapons training to costume design to cinematography to previsualizations to visual effects to stunts.

Despite its British kitchen - sink drama tag, Eben Bolter's (Greyhawk) cinematography transcends the dreek and grey tone often associated with the genre, into something quite exquisite.

The second film I saw at the festival and its wondrous cinematography, resonant performances, and an organic direction that plays right into my wheelhouse; Mr. Turner proves that Leigh can tackle the tricky genre of the biopic better than, well, anyone I've ever seen.

It's balanced execution of claustrophobic cinematography and traditional jump scares set the pace for a new franchise («Insidious: Chapter 2» and «Insidious: Chapter 3» followed) that reminded audiences of what horror films could be at their core: Films capable of absorbing audiences into a world filled with their darkest fears.

As he continues to singlehandedly keep the neon light tube industry afloat with his particular brand of cinematography, the shift to a female protagonist and supporting cast breathes some life into the darkness.

Geoff Barrow and Ben Salisbury's industrial - strength dissonant score uproots us (though it dips into quiet, acoustic tones for the truly shocking moments) while Mark Digby's production design and Rob Hardy's cinematography seem to always position us so that there is nowhere to plunge but deep into the most terrifying part of the landscape.

What turns this fairly ordinary - sounding family drama into something on the edge of epic is its use of landscape and setting — the desert Southwest, California's San Fernando Valley (also the setting for Wenders's 1997 The End of Violence), and the concrete canyons of Houston — reinforced by the stunning cinematography of regular early collaborator Robby Müller and a plangent slide - guitar score by Ry Cooder (with whom Wenders would later make the Oscar - nominated documentary Buena Vista Social Club).