Sentences with phrase «light out of a scene»

Color representation is still relatively accurate with a little bit of extra kick, and the Pixel 2 seems to bring out a little more saturation in the colors, and just a bit more light out of scenes that needed HDR to brighten dark areas — this leads to challenging scenes being captured more consistently across the photo as a whole.

Night mode is useful for getting more light out of a scene, but if that doesn't work well enough, you can enable the flash.

Not exact matches

The parables disclose with what pleasure and tolerance he surveyed the broad scene of human activity: the merchant seeking pearls; the farmer sowing his fields; the real - estate man trying to buy a piece of land in which he had secret reason to believe a treasure lay buried; the dishonest secretary, who had been given notice, making friends against the evil day among his employer's debtors by reducing their obligations; the five young women sleeping with lamps burning while the bridegroom tarried and unable to attend the marriage because their sisters who had had foresight enough to bring additional oil refused to lend them any; the rich man whose guests for dinner all made excuses; the man comfortably in bed with his children who gets up at midnight to help his importunate neighbor only because he despairs of getting rid of him otherwise; the king who is out to capture a city; the man who built his house upon the sand and lost it in the first storm of wind and rain; the queer employer who pays all of his men the same wage whether they have worked the whole day or a single hour; the great lord who going to a distant land entrusts his property to his three servants and judges them by the success of their investments when he returns; the shepherd whose sheep falls into a ditch; the woman with ten pieces of silver who, losing one, lights the candle and sweeps diligently till she finds it, and makes the finding of it the occasion of a celebration in which all of her neighbors are invited to share — and how long such a list might be!

Douthat and Salam's youth» they're among the brightest lights in the next generation of conservative writers» gives them a new perspective on the contemporary political scene, allowing them to step out beyond traditional conservative fixations on tax cutting and limited government» where the supposed Reagan solution is always the correct solution» and to offer incisive criticisms of how the Grand Old Party's ideology frequently serves as a blinder to effective policies for the working class.

Now, while my husband has played out these scenes and others like them time and again, it is obviously not only him performing these acts of kindness throughout the world on long, lonely stretches of roads and brightly lit grocery stores.

A SCIENCE - FICTION scene could be playing out for real about 4900 light years from Earth, where astronomers have spotted the first known pair of planets jointly orbiting a binary star system (Science, doi.org/h8h).

There's a struggle (with an observatory door), the element of surprise (an unexpected burst on a photographic plate), disbelief (by our protagonist and a collaborator), a scramble (to figure out how to report the discovery of the supernova), and an action scene that seems impossibly quaint: A driver races to the nearest town 100 kilometers away to send a telegram and alert the world that 166,000 light - years away, a star has exploded.

Here's a quick look behind the scenes: Those posed photos are taken after a few minutes of sucking in, tightening your abs, twisting your torso and ensuring the lighting is as perfect as it can be to wash out any visible flaws.

Hip - hop diva Kelis discusses her life and career in music, from the early days with various bands in New York to the launch of her solo career with the single Caught Out There, which established her as a leading light on the music scene.

Moments of tremendous warmth punctuate the tension, notably a beautiful scene in which Hap reads a letter sent from Ronsel overseas to the family, his younger siblings lighting up with each individual shout - out; and his joyous return, arriving unannounced while grace is being said before dinner.

A decent little romantic film, although labeled a Rom - com most of the time it feels more of a drama with a lot of light hearted moments than truly laugh out loud scenes.

The movie has many more flaws than Renee does: It isn't as light on its feet as it should be, and Kohn and Silverstein frame some of the gags too broadly, particularly a boardwalk bikini - contest scene that's dragged down by some crude gross - outs.

But Kaminski's no one - trick pony — he finds places to break out of the photographic scheme, be it a warmly candle - lit church scene (the depth and richness of the shadows are jaw - dropping) or that gorgeous, iconic shot of the men silhouetted against distant gunfire — you want to pause the image and put a frame around it.

The film meanders from time to time as Simon finds his way around the City of Lights and his own skin, but Corbet's performance is a darkly rich one in every scene, not far from Matt Damon's sociopath - turned - psychopath turn in «The Talented Mr. Ripley» but distinctively unnerving in crafting an eventually hollow façade out of this nice, young, very lost man.

Naomie Harris said she doesn't smoke or drink, so for the film's latter scene when Chi» ron comes to visit her and she's trying to light the cigarette, she didn't know that director Barry Jenkins had pulled Trevante Rhodes aside and told him to take the cigarette out of her hand, so what we see on screen in that moment was improvised on the spot to come to her rescue.

Mills adds just a few visual flourishes, letting a couple of scenes fade out into smudged rainbow light, like a Polaroid left in the rain.

There are entire scenes where one character walks into a room and starts talking to another character and the rest of the scene plays out alternating shots of the actors» faces (which seem to eschew makeup and draw attention to actors» freckles and moles and other «blemishes») and in cinematographer Robert Elswit's creamy»70s - style lighting.

The whole film is wobbly enough that many of scenes could be moved or cut altogether with no effect, with one obvious example being a stop - over in a village, where Snatched makes some half - assed attempts to paint Emily's largely unsympathetic character in a better light and tries (and fails) to mount a gross - out slapstick bit with a cheap - looking CGI tapeworm.

The shoot - out in the climax does take some unexpected turns, so I will give the filmmakers credit for having the guts to go where it goes, but the deadly seriousness of it does jar with the light and comic tone of nearly every scene preceding it.

Director Steven Soderbergh shoots those dance sequences with dynamic flourish (The camera is almost always moving in ways that punctuate the actors» motions) and plenty of polish (The stark contrast of the darkened house of the club with the perfectly lit stage is itself a contrast to Soderbergh's washed - out cinematography for the scenes outside of the club).

Director Harold Daniels is no visual stylist and there's a slackness to many of the scenes, but he comes to life in a nighttime murder scene that he transforms into a model of noir violence, an urban street fight in the dark of the empty city picked out in shards of light (credit likely goes to cinematographer Nicholas Musuraca, RKO's crime movie vet), and the screenplay co-written by Steve Fisher has a bite of irony in its twists.

A sex scene that's set up exactly like one out of the»80s (dreamy, unlikely lighting, a Mr. Mister song on the soundtrack, and lots of close - ups) turns into an extended bit of awkwardness, as the veil drops, leaving MacGruber to be his «skilled» self.

A shout - out to the special effects crew of The Towering Inferno, somewhat unnecessary in light of the two scene - specific commentaries on Disc 1.

It's a short scene, only a couple of shots over a couple of minutes, and Bordwell uses it as an example of the simple virtuosity of Hong Kong filmmakers, how they are able, again and again, to make an exciting and fun sequence out of almost nothing, budget-wise, and specifically how Tsui's mastery of cutting and framing keeps the whole sequence as light and airy as it is inexpensive.

It has an open and neutral exploratory quality, though there's an interesting disparity between the cops, in the brightly lit precinct scenes, enacting their own miserable S&M punishments on suspects, and the guys in the violet - hued underground bars playing out their rapturous rituals of pain and desire with one another.

The strong supporting cast also tries, but even the great John Carradine (easily the best thing about the film) and Anthony Quinn (who seriously out - swaggers Power here) can't change the fact that the bloated script slows the scenes to a trot, and Mamoulian appears far more interested in directing the light of shadow across the faces of his actors than in the actual actors.

One scene in Vegas stood out for me when it came to camerawork and lighting, employing certain movements and the use of strobe lights.

In this light, Marczak's film turns out to have a completely coincidental yet nevertheless fitting companion piece in theaters right now: Terrence Malick's Song to Song, which chronicles a similar phase in young - adulthood through a love triangle of its own, albeit set in the gritty indie - music scene of Austin, Texas, rather than in the big - city glamour of Warsaw, Poland.

Scott Porter, seated in wheelchair, who plays Jason Street yells out to his teammates as they film a scene during the filming of the season finale for Friday Night Lights at Texas Stadium in Irving on March 10, 2007.

Many scenes seem to be under - lit, faces are in shadow, scenes are sometimes slightly out of focus all of which is rather distracting, and unsatisfactory.

the immensity of pondering close - ups on both women, the shots behind all types of blurry glass, the observational camera, the silences... and that last scene, those last shots... i stayed on my seat until the very end of the credits and on my way out two women were kissing long and hard in the cinema and they couldn't care less if the usher had put the lights up and wanted to clean the place.

One scene with the aforementioned bear will stalk the dark corners of mind every time I turn out the lights.

Miike barrels out of the gate with a strong, literally explosive opening scene that features the bloodiest game of Red Light / Green Light ever.

The police scour the catacombs of the city sewer for a victim buried behind a wall (Director James McTeigue and cinematographer Danny Ruhlmann generally create a fine, dusky atmosphere, though scenes such as this cry out for at least some light for better coherence).

The movie suffers from this approach from the very beginning when an immaculately composed and lit scene follows a group of men on a train out to Menlo Park where Edison illuminates concentric circles of light bulbs.

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In the version of Get Out that made it to the big screen, Daniel Kaluuya's character Chris is rescued in the final scene by his friend Rod — who arrives driving an airport police car, flashing blue and red lights.

Neither do I. Maybe we all need to watch «The Godfather» again, if only for that scene where Michael gazes at his steady hand holding the lighter and sees his future stretching out ahead of him.

Update: Hit the jump to check out the first look photo of «Hamilton» creator Lin - Manuel Miranda filming scenes as Jack, a lamp - lighter that gets up in the adventure with Mary Poppins.

While so much is being made about the gruesome scene involving the main character and a mother grizzly bear, the images I can't get out of my mind are landscapes, frozen waterfalls, and the ambitious decision only using natural light to provide an even further authentic experience.

By the time that party really got rolling, I remember walking from room to dimly lit room feeling acutely the ethos of the era - the early 1970s - as if it, too, were sprawled out on the «scene shop» couch wearing long hair and a macramé dress, barely noticing how late it was and that I was still up.

Anyone watching the scene in the award - winning movie Out of Africa where Robert Redford takes Meryl Streep up in a light plane, swooping low over the stunning landscape of the Kenyan plains below would be seduced by Kenya's exotic beauty.

Meanwhile, the neon lights of Lijiang tower look like a scene out of a cyberpunk sci - fi novel.

Check out the trailer for a behind - the - scenes look at the inspiration for the art of Child of Light.

It also includes scene intelligent auto settings, to help take the guesswork out of situations with tricky lighting.

Hari Panicker and Deepti Nair are a married couple that creates complex magical scenes of humans and animals out of paper and light.

In ambient light, And I Can't Run appears to show a muddle of onlookers; the scene they observe is too faint to make out.

Tala Madani's tragicomic paintings show bodies in all their vulgarity and social insecurity: nightclub dance scenes in which desperate, narcissistic men admire their own shit as disco lights flash out of naked assholes («Shitty Disco,» 2016).

Since exploding onto the art scene in 2003 with his playful wall drawing performances, Robin Rhode has scribbled on just about every type of surface, while also making photographs and sculptures of objects like bikes, candles, and light blubs out of chalk and charcoal.

I was just responding to this ocean of newly experienced color / light and this ocean of concrete, looking out a window in Washington Heights at that scene.