Sentences with phrase «lighting moves shadows»

The water looks great (and as I mentioned, there is a lot of water on Hillys), and real - time lighting moves shadows when necessary (like the «heavily - guarded elevator» stealth segment).

Not exact matches

The One remains, the many change and pass; Heaven's light forever shines, Earth's shadows fly; Life, like a dome of many - coloured glass, Stains the white radiance of Eternity,... That Light whose smile kindles the Universe, That Beauty in which all things work and light forever shines, Earth's shadows fly; Life, like a dome of many - coloured glass, Stains the white radiance of Eternity,... That Light whose smile kindles the Universe, That Beauty in which all things work and Light whose smile kindles the Universe, That Beauty in which all things work and move.

As light moves in a straight line, shadows are the

November 18: Enjoy some ARTfull play at deCordova Sculpture Park, and practice drawing with light by moving shadows (Lincoln)

Getting mainstream scientists to move past their light - matter chauvinism and take that shadow world seriously will require some highly convincing evidence.

When I move my arm quickly, the shadow sometimes has a light grey and pink trailing edge.

But it may be sensitive to changes in brightness or wavelength, such as moving shadows cast by approaching predators, or light fluctuations associated with different times of day.

An early finding was that some retinal ganglion cells are «directionally selective» — in other words, they only respond when a visual cue, such as a bright spot or a dark shadow, goes in one direction, and not when the light or shadow moves in the opposite (null) direction.

When shadow - boxing, make sure you move around, keeping your boxing stance with light feet; remember to «float like a butterfly».

Start with a darker shadow close to the lash line and work with lighter shades as you move higher up the eyelid toward the brow.

Shadow People & Dark Beings Have you ever seen what appears to be a shadow person or dark figure (stationary or moving) with your own eyes, close up or far Glowgolf, European Bar, Le Bar Europeen, melbourne and Australias only 18 hole glow in the dark mini golf, using state of the art UV lights and sound, take

The arrival of the film noir coincided with a new penchant, inspired by Italian neorealism, for moving out of the studio on occasion and onto the great rich set of the American city and its suburbs, a readily available set which became, sometimes with only minimal adjustment of light and shadow, fully as «Germanic» as anything constructed at Ufa in the Twenties.

When there's light, the shadow disappears, and the process repeats itself, until the thing instantly moves closer.

I particularly enjoyed a puzzle where you have to move pieces on a grid back and forth in order to line them up to draw a picture in the shadow that's cast by a light.

Shadows add to the squalor that is Crime Noir, especially in that twist scene I mentioned before; notice how shadows effortlessly move from light to dark without quickly descending either way.

The swage line turns up as it heads rearwards, moving from shadow to light and sweeping up the Hofmeister kink in its path rather than continuing into the rear.

Seaman Houston took himself a few steps nearer, and, from the distance of only a few yards, he saw that the monkey's fur was very shiny and held a henna tint in the shadows and a blond tint in the light, as the leaves moved above it.

She can just make the crab out, shadowed and distorted, trundling sideways across the rock, and she pursues it, kicking her feet to stay pressed down against the bottom, and then she lays her hands on the cold crisp shell, somersaults in the water, and surges upward into her own plume of hair, up along a passage of black rock, pitted and winding, gaping windows alterately fountaining water or sucking it back, the weeds moving rhythmically in and out with this labored breathing, some trick of the light making the pool's surface into a shifting mirror, and though she should look up and see her grandpa bent over the pool, she can not.

In good light, it doesn't show a lot of noise, but there isn't much shadow detail and there's some blur on moving objects.

They often exhibit quirky behaviors observing shadows, moving lights, flying bugs, air movement, hearing sounds that we can not such as vacuum cleaner, hair dryer, and toaster sounds, rustling tin foil, a human cough or sneeze, baby crying, laughing, thunder & lightening, gunshots and fireworks... to mention a few.

He added: «Due to this, we kept all the great tools we already had, such as an amazing lighting engine and the dynamic environment, then we focused the gameplay more on the Splinter Cell values and strengths, such as light and shadows, athletic moves or gadgets.»

I wan na see more advanced lighting, ray - tracing, better reflections, real - time shadows, moving clouds (Assassin's creed 3), better animations, better faces....

But of course you'll lose all the advantages of a dynamic lighting, like the dynamic shadows and your moving objects could feel out of place when progressing through the level without light changement.

While the camera is never moving, it is 3D with fully pixel lighting, shadowing, bloom» filtering and normal mapping — all in an classic isometric, instead of a perspective projection.

Individual floors (or sometimes groups of about three) serve as individual levels; the game automatically saves your progress whenever you move from one level to another, as well as when you enter / leave a «shadow corridor» — very light - trick intensive areas, often featuring the ability to rotate your view at specific locations in order to significantly alter the layout — or die due to running out of weight.

Garret has to make sure that he moves around in shadows and stays away from well lit areas.

Space station under invasion, city on the verge of plague, even the whole world, is moving towards devastation.You are the Savior!Real - time light, shadow, lambency and depth effect... Enable you to experience a 3D next - gen console game on mobile platforms.22 completely different stages, i.e. 22 distinctive scenesEnsures...

Think Mona Hatoum's Light Sentence (1992), in which wire mesh lockers are placed in the centre of the room and appear to fill the whole space through light and shadow, orchestrated by a slow - moving motorised light bulb nestled in between the locLight Sentence (1992), in which wire mesh lockers are placed in the centre of the room and appear to fill the whole space through light and shadow, orchestrated by a slow - moving motorised light bulb nestled in between the loclight and shadow, orchestrated by a slow - moving motorised light bulb nestled in between the loclight bulb nestled in between the lockers.

Of these Light Sentence is a U-shaped configuration of 36 industrial wire lockers to put one in mind of a prison, while a single bulb moving up and down within the dead end casts shadows that compound the sense of incarceration and oppression.

, 1976 traces Acconci's early actions and performances, including FOLLOWING PIECE (1969), in which he followed passers - by on the street until they entered private spaces — SHADOW - PLAY (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall — OPENINGS (1970), during which a camera focuses on Acconci's stomach as he pulls out his body hair, the film ends when Acconci is hairless — SEEDBED (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead — THE RED TAPES (1976 - 77), a three - part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language.

According to him, space and time imply movement and the change of light: «As light moves across the object, the forms and the color appear to change with the rearrangement of the shadows.

Eliasson's first solo show in France since his 2002 exhibition at the Musée d'Art moderne de la Ville de Paris, Contact envelops visitors in a choreography of moving light and shadows, seemingly transporting them into the darkness of outer space.

Playing with shadow and light — often with a lone person moving through each frame — his incredible geometric, minimalist images are then shared on Instagram where he has over 75,000 followers.

Deeply moved by the play of light, shadow, colour, and architecture there, Sandback discovered a fascination for Mexican architecture.

Afterimage is a large - scale interactive light / painting installation; an ephemeral and mysterious spectacle of appearing and moving shadows, structures, silhouettes and hues expressing thoughts surrounding spirituality and the supernatural.

Moving through the galleries, there is Mark Rothko's Light Cloud, Dark Cloud, 1957; Philip Guston's The Light, 1964; the essential light / dark dichotomy in Callum Innes's Exposed Painting Mars Black, 2002; the red flashing light in Robert Rauschenberg's Whistle Stop (Spread), 1977; Dan Flavin's Diagonal of May 25, 1963, 1963; Robert Irwin's use of light to create the shadows that define Untitled, 1968; the projected light that makes visible Bill Viola's The Greeting, 1995; the reflective quality of the Plexiglas in Donald Judd's stacked piece Untitled, 1967; and the stars in Vija Celmins's Night Sky # 17, 2000 &mdashLight Cloud, Dark Cloud, 1957; Philip Guston's The Light, 1964; the essential light / dark dichotomy in Callum Innes's Exposed Painting Mars Black, 2002; the red flashing light in Robert Rauschenberg's Whistle Stop (Spread), 1977; Dan Flavin's Diagonal of May 25, 1963, 1963; Robert Irwin's use of light to create the shadows that define Untitled, 1968; the projected light that makes visible Bill Viola's The Greeting, 1995; the reflective quality of the Plexiglas in Donald Judd's stacked piece Untitled, 1967; and the stars in Vija Celmins's Night Sky # 17, 2000 &mdashLight, 1964; the essential light / dark dichotomy in Callum Innes's Exposed Painting Mars Black, 2002; the red flashing light in Robert Rauschenberg's Whistle Stop (Spread), 1977; Dan Flavin's Diagonal of May 25, 1963, 1963; Robert Irwin's use of light to create the shadows that define Untitled, 1968; the projected light that makes visible Bill Viola's The Greeting, 1995; the reflective quality of the Plexiglas in Donald Judd's stacked piece Untitled, 1967; and the stars in Vija Celmins's Night Sky # 17, 2000 &mdashlight / dark dichotomy in Callum Innes's Exposed Painting Mars Black, 2002; the red flashing light in Robert Rauschenberg's Whistle Stop (Spread), 1977; Dan Flavin's Diagonal of May 25, 1963, 1963; Robert Irwin's use of light to create the shadows that define Untitled, 1968; the projected light that makes visible Bill Viola's The Greeting, 1995; the reflective quality of the Plexiglas in Donald Judd's stacked piece Untitled, 1967; and the stars in Vija Celmins's Night Sky # 17, 2000 &mdashlight in Robert Rauschenberg's Whistle Stop (Spread), 1977; Dan Flavin's Diagonal of May 25, 1963, 1963; Robert Irwin's use of light to create the shadows that define Untitled, 1968; the projected light that makes visible Bill Viola's The Greeting, 1995; the reflective quality of the Plexiglas in Donald Judd's stacked piece Untitled, 1967; and the stars in Vija Celmins's Night Sky # 17, 2000 &mdashlight to create the shadows that define Untitled, 1968; the projected light that makes visible Bill Viola's The Greeting, 1995; the reflective quality of the Plexiglas in Donald Judd's stacked piece Untitled, 1967; and the stars in Vija Celmins's Night Sky # 17, 2000 &mdashlight that makes visible Bill Viola's The Greeting, 1995; the reflective quality of the Plexiglas in Donald Judd's stacked piece Untitled, 1967; and the stars in Vija Celmins's Night Sky # 17, 2000 — 01.

The effect is like the moving lights and shadows of passing traffic filtering through a city - apartment window.

This will be Eliasson's first solo show in France since his 2002 exhibition at the Musée d'Art moderne de la Ville de Paris, Contact envelops visitors in a choreography of moving light and shadows, seemingly transporting them into the darkness of outer space.

JM: In each painting there's a feeling of different times of day, shadows move, the light changes, everything is shimmering, dissolving, coming into and dropping out of focus.

LiDAR is remarkably adept at tracking road signs, vehicles, and pedestrians in most conditions, but struggles with sudden transitions from light to dark — such as moving from a tunnel back onto a well - lit road or, in this case, moving from shadows to the bright light of a car's front headlights.

Nest Aware filters out false alerts from shadows moving or lights flashing so you see the moments you care about.

The avatars also will move more naturally with improved body movements and appear more present through better lighting and shadows.

When Federighi moved the cup closer or farther away from the light source, the cup's shadow also changed to reflect the cup's virtual position.

Illuminations will take SEL out of the shadows and move it into the light.

TEI's Illuminations dialogue sessions will take SEL out of the shadows and move it into the light.