Sentences with phrase «like framing the shot»

Not exact matches

I liked Jones having a rip from deep in the 21st and he always puts these shots on frame.

Be ready to offer suggestions, but try framing them as questions: «So you want to try shooting baskets on the weekends — would you like me or Dad to play with you?

«But it does capture the phonon and electron movements in frames shot 100 trillion times per second, and we can string about 100 of them together just like movie frames to get a full picture of how they are linked.»

You need to make the shot look pretty and peaceful, but outside of the frame (like you said) it's a different story

For stagnant landscape shots, 48 frames per second works wonders, delivering strikingly crisp images, but the moment Jackson either moves the camera or cues a battle sequence, the footage takes on a video - like quality, almost along the lines of a soap opera, and it looks downright awful.

The special effects are almost photo - realistic, and yet whenever George and Davis are in the same shot it feels like you're watching a joyless modern riff on «Who Framed Roger Rabbit?»

Cinematographer Ryan Samul (2014's «Cold in July») holds a shot for maximum dread, whether it's on the smiley face spray - painted on a mailbox or the swing of a swing set, but also pleasingly employs technical flourishes, like zooms, that help differentiate it from the jittery style and often subtle framing in Bryan Bertino's original film.

Shooting Juarez to look like a hothouse abattoir doesn't take any real imagination (or empathy), and after a while, the skillful framing of Roger Deakins» cinematography becomes oppressive.

The 1080p 2.35 X 1 digital High Definition image transfer is not only dull as noted, the editing is lame and the all - HD shoot tries to use the scope frame to be big or go big, but this has all the excitement and intrigue of a bad TV movie visually and there are episodes of Columbo and McCloud that look like they were shot in IMAX as compared to what we get here.

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 fact, «they» don't really come like this: a movie almost without establishing shots or hand - holding narrative cues, aggressive with its weird ambient sounds and literally eccentric frames.

Lynch knows how to frame a shot and tell a story that actually feels like the recent work of a filmmaker with whom he has yet to work, Jim Jarmusch.

The overhead shots and wide angles are used very effectively in capturing images like the boats on the water or even the cities in the back of the frame as the camera moves away in an unbroken tracking shot.

It's your usual assortment of production anecdotes, but Wynorski is pretty good at screen - specific observation, cluing us in on which shots required the most work behind the scenes — like the tracking shot through the furniture store that forced stagehands to move furniture into place and stay out of frame as the camera rolled backwards through the set.

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.

David Bordwell contends that Tarantino deliberately signals his sources to his audience, «in order to tease pop connoisseurs into a new level of engagement,» while Aaron C. Anderson writes that by using framing markers and calculatingly phony distancing devices (like, for example, the black - and - white process shots in Pulp Fiction), «Tarantino draws attention to his film's status as a film, as a constructed work of fiction, and as a «simulation.

Shot in many ways like the classic Westerns, utilizing the 1:1.33 screen ratio — the standard of Hollywood's Golden Era — Reichardt's frame corrals her characters in their own personal impasse as opposed to the John Ford overpowering landscape approach.

O'Neal's performance coupled with Kurbrick's usual meticulous attention to detail (which famously drove production designer Ken Adam to a nervous breakdown) and shots framed like Thomas Gainsborough paintings make for an extraordinary viewing experience.

Everything about MGS Touch feels cheap - characters and environments look like they've been poorly Photoshopped out of MGS4, enemies fall down in three jarring frames of animation when shot, and the gameplay is far too basic to be engaging.

As polarizing as Tom Hooper has been in his choices to shoot and frame his films like «The King's Speech» and «Les Miserables,» two films that are still delightfully poignant years after, «The Danish Girl» is by far his most alluring film to date.

Rather like an extremely damped - down There Will Be Blood, Reichardt's film — based on historical events — depicts one group's journey through the Oregon Trail in 1845 as a trek through a hauntingly empty and alien landscape, with cinematographer Christopher Blauvelt exquisitely taking in the natural beauties of the settings while framing the increasingly desperate wanderers in wide shots to emphasize, in part, their ultimate smallness within the wild west.

-- Wes Anderson's seventh movie is unmistakably his, with shots meticulously framed like dioramas and a camera lingering on droll details before panning or tracking somewhere else.

Working again with cinematographer Yorick Le Saux, the visuals are stunning, but there are a few more of those really obvious shots — you don't have to know La Piscine to get that the pool is Bad News, given the way it looms in the frame, like it's stalking victims — and the jittery pacing of some of the editing is at odds with the languorous and sumptuous tone of the film.

Shots from above — what Trier refers to as the «gaze from another place» — still stick in my mind, like our introduction to Thelma as an adult, in which we watch people scuttling like ants across a university courtyard for quite some time before Thelma even enters the frame.

And with Tom Hooper behind the camera shooting things in the most pedestrian way possible (a hallmark of his after films like The King's Speech and Les Miserables), only every now and then spicing things up with the way he frames Gerda painting from behind the canvas, there is not much to distract from the issues at the core of the film.

I like the attention that Glazer gives to Kingsley - the framing of the shots and the character's spiked tongue is used to create the sense of terror that accompanies the character.

Between the stellar cast, plenty of tension, and some nice cinematography by Greig Fraser — I'm especially struck by the shot of Chastain reflected in the framed American flag — Zero Dark Thirty looks like it has what it takes to be another terrific film by Kathryn Bigelow.

With its carefully composed and framed shots, the trailer plays out a bit like a string of potential cover photos or screen savers, but we're reminded that we're actually watching a narrative film because of the intense performances from leads Michael Fassbender (Macbeth) and Marion Cotillard (Lady Macbeth).

Like the director's earlier films, There Will Be Blood is visually stylized, with some lingering long shots and deliberately different framing choices.

After three years using a rumbling controller to shoot aliens at 30 frames a second, switching to WASD and a click of a mouse button initially felt like playing with one hand tied behind my back.

With its assured direction (it's hard not to love the way he frames many of his establishing shots with menacing church edifices looming in the background) and great performances from the likes of Mark Ruffalo, Michael Keaton, Rachel McAdams and (especially) Liev Schreiber,

The hyperactive camera found in their earlier works like Raising Arizona and Blood Simple is nowhere to be found here, although the individual shots are framed very creatively.

The virtues essentially stop with the shot design and the work of Edward Norton (himself being a sort of walking meta joke, as his character arrives on scene and immediately begins armchair directing and taking control, something for which Norton himself has been infamous on set), and while the other actors are fine, they do not manage to separate themselves as anything other than puppets for Inarritu's agenda, who looms over every frame like some petulant child with a grudge and a budget that allowed him to force his opinions on an unwitting public.

«At least Boyle, who can not at all grasp how to frame a shot or tell a story without treating his viewers like imbeciles, and Sorkin knew well enough to hire great actors to play out their technobabble update on A CHRISTMAS CAROL.»

The side profile of the Shooting Break concept car is dominated by the low, frameless side windows, the coupé - like shape of which is further highlighted with the incorporation of a polished aluminium frame along the body.

Titanfall looks like a 360 game with better frame rate it has terrible draw distance It not for long distance sniping shooting.

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

Although I didn't like that the game prevents people from taking screen - shots, there were no actual problems with frame - rate, freezing, or crashing.

Panel wise transitions like these were usually eased in by first showing a close up of Anne with a trailing thought, while the next frame had a nice large establishing shot of the new location and / or time finished the thought.

When you teleport back to the lab, Porfessor Oak will ruthlessly judge all of the photos you have taken based on how in frame the Pokémon is, the number of the same Pokémon in shot and how interesting it is (doing things like getting Pikachu to surf will make him go nuts, he loves it).

After three years using a rumbling controller to shoot aliens at 30 frames a second, switching to WASD and a click of a mouse button initially felt like playing with one hand tied behind my back.

Nearby, in the booth of the Rhona Hoffman Gallery from Chicago, is a photo the American artist Deana Lawson shot in the Democratic Republic of Congo: a young man, smiling on a deserted road, with bunches of bananas framing his head like a fright wig.

Jackson chose to shoot the new film in 48 fps instead of 24 fps, which has lead to complaints from early viewers ranging from dizziness and nausea to those saying it looks like reality TV instead of Tolkien's fantasy world and he only bumped up the fps from 24 to 48, not filling in frames up to 240 per second like your TV.

If you use DJI's app to shoot your video, you can also do tricks like automatically tracking a subject — you worry about moving the camera and the Osmo worries about keeping the person you're shooting in frame.

The XZ2 shoots super slow - motion video in 960 frames per second, just like last year's XZ Premium model, but Sony is upgrading the resolution.

Moving to video and the Mate 9 is capable of shooting 4k video at 30 frames per second and like in photos, video quality is decent in daylight, but becomes a little grainy in low light.

If you dislike some shot, you can always frame that to your liking with full manual controls.

As for the 5 - megapixel selfie camera shoots at a very wide angle as well, just like Samsung's phones, though you can switch to a closer framing that basically just crops the image.

But the most interesting thing in these shots is the Note 4's outside frame, which looks like it may actually be metal this time.

While the Nexus 5X shares the same sensor, the Nexus 6P brings a few additional features like higher frame rate in slow - motion video (240 fps), burst - shooting capability, and electronic image stabilization.