Sentences with phrase «light shots gave»

Not exact matches

Camera + gives you the opportunity to set exposure separately from focus so that you can easily control how light or dark your shots come out.

Founded in 2006, Lytro is behind a series of cameras, which allow customers to capture «all the rays of light within a scene» giving them the ability to refocus shots after they were taken and offered «unprecedented control over focus, perspective, aperture and shutter angle.»

As a closing prayer, Mark Kelly offered a prayer given over Giffords» hospital bed just after the shooting by the rabbi who married the couple in 2007 - that the angel Michael watch over the right side, the angel Gabriel over the left, the angel Uriel - God's angel of light - guiding the path and the angel Raphael - the angel of healing - be behind, and overhead the presence of the Divine.

«They really are trying to give it their best shot, and part of what they're doing is trying not to take their children out of the world... so that they're children can be salt and light right across society.

I don't think the Pope's visit revived any religious passion, but it sure gave the city's red light district a shot in the arm!

Although Tasmania's possums are now saved from the distressing transport and slaughterhouse process, the remainder of the commercial export plan has been given the green light, using animals that have been shot and killed in the field.

It make sense to give a shot to a goal scorer when he is scoring and you are light on strikers.

I always work with natural light because it gives the best results and I try to take photos from as many different angles as possible to get a few good overall shots of my jewellery.

He was an obscure left - wing backbencher going up against some of the Labour leadership's leading lights; when the race began, oddsmakers gave him a 100 to one shot at victory.

With little fanfare, Mayor de Blasio late yesterday afternoon gave a tentative green light to a plan for four facilities that would be known as «safe injection sites» — locations where heroin users could shoot up under the watch of medical professionals.

When you shoot in manual mode, you have the control of your exposure to give you that soft, light, almost blown out look, OR you have the ability to create darker images like a silhouette in front of a sunset.

I tend to take a lot of shots from different angels to make sure I get one I can use, and using natural light always gives the best color and brightness.

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.

The lighting gives such a gentleness to the shots, which plays nicely against the bright red.

I thought I fell into the Light / Medium category and while I did give this CC cream a shot, it was just too yellow for my skintone.

I will of course have a heap of photos and video to share with you later, but we quickly shot this outfit this morning namely as I loved the light and Mario gave in to my begging!

Casting light on the inherent contradictions between the public claims of Scientology as an applied philosophy and its actual practices, the film gives voice to these peoples» stories by inserting them as recurring reference points throughout the film, from its opening credits to its closing shot.

A generous shooting schedule gave French cinematographer Néstor Almendros the freedom to experiment with his visuals, shooting scenes without studio lights.

You might think that Techland would be well shot of the troubled Dead Island franchise, given that they had such a big hit with Dying Light, but now that Dead Island 2 is no longer being handled by Yager, it seems they wouldn't rule out a return.

Shot in artful, quiet light (many of the frames look like elegant paintings), The Innocents is beautifully performed by its nearly all - female cast; each nun, even those unnamed, is given her own personality and story.

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

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.

Beginning with «Easy Rider» (photographed by Kovács), they helped redefine the way movies looked, from grabbing shots on the fly for young directors making personal films on low budgets to using natural light to give a heightened realism to their studio productions.

The location shooting on the streets of Los Angeles gives the movie that docu - texture of a certain strain of noir, with night shoots letting the minimal lighting and the headlights of cars create pools of light in a world of darkness.

If they were, the audience would be given light - guns (yes, I admit I know what a light - gun is) when they buy their ticket to shoot along with the cast and have the high scores listed at the side of the screen as the movie progresses.

Was shooting in Pittsburgh at all awkward for the production, given how the movie presents the NFL in a bad light.

And though his latest vehicle was delayed earlier this year due to reportedly bad test screenings, «The Cold Light of Day» will give him another shot to convince audiences that he's the right choice to play Superman.

Cinematographer Emmanuel Lubezki, having just completed work on Terrence Malick's masterpiece The New World, shoots in natural light, giving the movie a bright, almost garish look, and uses many, many long takes to emphasize the reality of any given moment.

It's not an overly visual movie, but McCarthy's brightly - lit shots, and a spare music score by Howard Shore, give the many dialogue scenes an urgent sense of rhythm.

Though Room more obviously necessitated lighting based in practical concerns, given the fact that half the film was shot within a 10 - by -10-foot box, the approach on The Danish Girl wasn't too far off.

But this one shot of an anguished Sullivan, using the visual language of tragedy in a light romantic comedy, gives the story the emotional weight needed for the audience to care about the outcome.

Cinematography from Sean McElwee seems sloppily lit — some indoors shots are especially second - rate — giving the film a kind of home video look at times.

Often shot with overhead lighting that darkens his deep eye sockets, thus giving him the appearance of a skull, Phoenix excels at being menacing in a completely despicable way.

Their Mountie rivals give it a good shot — one scene where they try to convince a disbelieving Sasso that Danny DeVito was, in fact, in both Taxi and Always Sunny, is a rare beam of light in a sea of non-jokes.

What makes this film even more bizarre is Soderbergh's dedication to shoot the film entirely on an iPhone, which gives it a gritty and claustrophobic visual structure that's accompanied by narrow sounds and dark lighting.

He'll probably win again — and deservedly so, given the arduousness of the shoot and his awe - inspiring use of natural light.

Sometimes Ritchie makes his simplistic points simplistically: past - it Barbie doll Feldon pushes her lonely, tendresse - starved husband away and we're left looking at the blue - green - lit TV dinners in her freezer (the word «frigid» is mercifully delayed till their next interview); Michael Kidd, as a gruffly sentimental directorial superstar engaged by the local Jaycees to stage the spectacular, watches the Antelope Valley girl turn an onstage fumble into a sympathy - inducing bonus and murmurs, «They learn fast» (a mere reaction - shot cut to him at this point would have verged on the excessive; the line kills any validity the moment might have had); a drummer (screenwriter Jerry Belson, no less) watches one contestant segue into a striptease whose impiications are hilariously ambivalent in the context of so much plastic puffery, then exchanges glances with the orchestra leader and gives his drumstick a ribald stroke.

Well that and the inclusion of JJ Abrams-esque lens - flare in literally one shot of the entire movie, which, given the lack of any artificial light sources existing in this setting, makes so little sense that... you know what, nevermind.)

Set in a posh Swiss resort and accompanied by an easy - going light jazz score by Henri Mancini, Blake Edwards» mix of elegance and slapstick was a hit and Sellers was back as Clouseau in A Shot in the Dark (1964), this time without a wife, which gives him time to romance lovely murder suspect Elke Sommers.

Locations figure heavily, given a lot of scenes were shot at a forest retreat, and Dante describes the editing and lighting tricks ace cinematographer John Hora used to create seamless transitions between location and interior sets for the film's tight $ 1.4 million budget.

The relationships and events amount to a credible portrait of modern city and family life, but it's the intimate, improvised shooting style (16 mm, natural light, all on location) and Michael Nyman's evocative, memorable score (this often feels like a film made to music) that define the film and give it the sense of immediacy and compassion that make it so enduring.

The interplay between sharply defined lines and large surface expanses gives rise to some exciting and characteristic light effects, resulting in a unique look that sets the CLA Shooting Brake quite apart from other vehicles in related segments.

Ambient lighting and several wood trim options add further luxury, giving the 2018 LS a real shot at outdoing the S Class for interior opulence.

By the middle of the decade, fuel prices had shot up alarmingly, and manufacturers responded by displaying parts based on technologies to make vehicles lighter, more aerodynamic and more efficient without giving up performance.

These shots also give us a better look at the exterior lighting of the next - gen trucks.

The tail - lights will also incorporate cues from the Evoque's bigger brother, as the spy shots show, with more of a strip across the hatchback to give the car a wider look from behind.

A strict two - seater too, the Vanquish Zagato Shooting Brake adopts an extended roof also sporting the «double - bubble» motif complete with glass inlays to give the cockpit more light.

But is it exciting and fun to put out an MG trilogy because you think, despite everything, that learning from what hasn't worked so far, you might be able to give it a shot and see sufficient small success to light the way?

Being the cowardly cocksuckers that at heart they surely were, they hit the ground, which gave him a clear shot through the doorway to the office at his target: the rectangle of hazy blue light behind them.

Even when I tried to minimize glare for a nice side - by - side shot, you can see how the limited light that does get through gives unpredictable texture to the Reader, while leaving the Kindle more or less unblemished: