Sentences with phrase «lit scenes like»

There are some issues on the lower - lit scenes like the interrogation room where there is some noise in the darker spaces.

Director Roger Michell has been quoted as saying of the novel My Cousin Rachel that its creator, Daphne du Maurier, «lights her scenes like Caravaggio and writes them like Hitchcock.»

Not exact matches

The 360 - degree integration allows users to leverage custom keypads and voice - activated controls in order to create lighting and music scenes to their liking, such as a wake up call with accompanying lighting and music scenery.

The luster of letters on the flickering screen Enlightened my mind and illumined the scene, «Til the pixels like pixies appeared to impart A light to my head and a glow in my heart.

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.

Like many of the projects undertaken in Raskar's Camera Culture Group, the new system uses a time - of - flight camera, which fires ultrashort bursts of laser light into a scene and measures the time it takes their reflections to return.

Although it looks like a scene from the sci - fi thriller «Gravity,» the bright pop of light in this image comes from ASASSN - 15lh, the most powerful supernova ever discovered.

The cab window acted like a movie screen, and as the movie played, one of the frames stood still... it froze on a scene with people smiling and admiring the holiday lights and decorations.

I also like the lesbian scenes that's sprinkled in, since it represents lesbianism in a true light.

When she returns to the office that evening, the street is a crime scene lit up like a Christmas tree by flashing police lights.

Like the whole scene with Susan where Leah breaks a lamp's light bulb and threatens to electrocute her with it.

Even the most seemingly simplest scenes, like characters slowly embarking into a completely dark tunnel of nothingness have a lasting impact thanks to some masterclass lighting techniques.

Indexed by chapter headings separate from those found in the scene - selection sub-menus, Scott indelicately remembers, among other things, that David Bennent's vocals were re-dubbed by the New York - born Alice Playten because a studio stooge said he «sounds like a goddamn Nazi;» that a 10 - year - old doubled for peak - diving Cruise; and that the film's convincing fairy F / X were accomplished with fishing line and a light bulb.

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.

The disc is packed with extras, including some deleted scenes that add very little, a blooper reel and a featurette detailing how Wonder Woman fits in with Batman and Superman as a DC flagship character that are all fairly throwaway, but there are a few neat production featurettes that detail how director Patty Jenkins approached making what could have been a potential disaster given the negativity towards the DCEU's previous movies, and also interesting effects details about the lighting, costumes and the chosen colour palette that may not sound like much but actually prove to be quite enlightening about the whole filming process.

Other shots - long shots, into the light, so we can not see the characters» lips — look suspiciously like scenes that were filmed first and dubbed later.

On DVD, some scenes come across as more video - like in texture, depending upon the lighting.

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.

Even ostensibly lighter scenes, like one in which Carole tries to cheer Hadji up with some Bee Gees on the stereo, play like gloomy tracts.

The behind - the - scenes action of Living in Oblivion is no exception, and although we've seen many films just like it in recent years, such as Mistress and The Big Picture, Tom DiCillo's (Double Whammy, Box of Moon Light) creation distinguishes itself by being about a independent filmmaking, not greatly influenced by the dictation of a major studio or bigwig producer, but by conflicts within the filmmaker himself.

Like David Robert Mitchell's The Myth of the American Sleepover, which navigates the similar summer break territory but without any scenes where a rat gets eaten to gut - churning results, it plays with the idea that this is the greatest time of our lives, but questions what happens when the setting sun of youth shines a light on something ugly and altogether strange.

In this moment, Campion finds one of her earliest platforms for experimenting with expressionistic conventions of cinema like the chiaroscuro - style lighting of Ingmar Bergman, the inky suburban subconscious of David Lynch and Peter Weir's haunting images of lost girls.3 With this scene, Campion also perfectly encapsulates the isolating, confusing and ultimately frightening mood around adolescent, female sexuality in pre-feminist Australian suburbia of the «60s.

His directorial influence is evident everywhere, from the cosy suburban milieu to the Close Encounters - like shafts of ghostly light that permeate so many scenes.

From first learning of their death to shooting their final scenes, this 30 - minute feature will shed light on what it's like to live - and die - in the «Game of Thrones» world.

It feels like the filmmakers chose only to use natural lighting, and thus the nighttime scenes are almost entirely indiscernible.

It's an odd, unpleasant little movie, with too - brief appearances by name actors like Jennifer Jason Leigh and Barkhad Abdi («Captain Phillips»), and too many scenes filmed in such dim light you're not sure exactly what's happening.

I would be shocked to learn this movie had been story - boarded, because it felt like the last half hour of an action - light movie is just one long, repetitive chase - fight scene between Reacher and the Hunter.

The icing on the cake comes in a completely unnecessary scene in which he dances by himself in a strobe - lit club like a lanky gibbon jumped up on Adderall.

It's an early - 19th - century pastoral scene that would have nicely suited an artist like J.M.W. Turner - although later in his career, the British painter turned to storm - tossed scenes, to skies full of bleeding light, to ships in peril, and beaches streaked with dusk and doom.

Granik, who made her debut in 2004 with the addiction saga Down to the Bone (the titles of her first two features give the amusing impression that she has taken the term «body of work» very literally), skillfully sustains the atmosphere, climaxing with a viscerally eerie light - of - the - moon boat scene that more resembles the work of the French festival - circuit lightning rod Philippe Grandrieux than a thuddingly well - intentioned American life - on - the - margins narrative like Frozen River.

Even lighter fare like Paul Feig's Ghostbusters spent time dutifully paying homage to its predecessor and, in its post-credits scene, setting up a sequel seemingly intended to further remake that predecessor.

Like a little dynamite she's ready to light up any scene with the sheer force of her joy, rage or pain.

Bates lights up her scenes, feisty yet down - to - earth, and has one emotional crescendo that feels like it belongs in another movie.

Even from a production standpoint, Game Night stands out with great lighting and scene composition, with a «hot potato / capture - the - flag» - like sequence that is not only a riot but shot impressively.

If the film did focus on the story, we wouldn't have fun scenes like Nick Frost trying to trick a groupie into having sex with Carl instead of him, by switching the lights off.

Kung Fu Panda Year: 2008 Directors: Mark Osborne, John Stevenson Like Stephen Chow's Kung Fu Hustle, DreamWorks» Kung Fu Panda punctuates its light - hearted, comedic tone with surprisingly poignant moments along with nonstop homages to a giant list of truly classic Kung Fu films, often scene by scene.

There are also some really great production featurettes, like the four - part production diary, «Pre-Fight Preparations,» a behind - the - scenes look at Russell Crowe's physical transformation into Braddock («Personal Journey»), and a cool featurette on the multi-angle filming of the movie's boxing sequences («Lights, Camera, Action»).

However, many low - light scenes - like Irina's early dinner with brother Paul and housekeeper Female [like «tamale»]- still hold up well, with a good balance between orange / amber lighting, and the brown / black décor and backgrounds.

Each times the lights came up, there were dazed faces just like that — the stunned looks of folks who caught painful glimpses of their failed relationships reenacted by marionettes while witnessing a puppet sex scene realer than anything on the scrambled channels.

Lexus lit up the scene at this year's SEMA show with the stunning, gloss yellow wrapped LC 500 racing concept that shines like sun.

At night the car's cabin lights up like a scene from «Tron».

Celebrity chefs like Bobby Flay, Giada De Laurentiis, Wolfgang Puck, Andre Rochat, Charlie Palmer, Emeril Lagasse, Guy Savoy, and Nobu Matsuhisa are just a few of the many culinary luminaries lighting up the Vegas dining scene.

It does take a very decent photo, we like the color representation and accuracy but low - light photos of people are average and scenes feel a little over processed.

There are bags of options within the camera app - ISO, exposure adjustment, timer, anti-shake, light metering options, 13 scene modes and four filters - but what we really liked was the Outdoor Visibility mode which puts the screen up to maximum brightness so that you can see what you're shooting even in bright sunlight (even if it does switch itself off every time you come back to the app) and the fact that the shutter delay is as short as you'll find on any smartphone.

Yes you can light up the dancefloor and greet the dawn in one of the many clubs which dot the island, some of the best being set in famous resorts like Atlantis The Palm, but there is more to this destinations after - dark scene than neon lights.

The beaches on the northern part of the island, like Thong Nai Pan Noi Beach, Thong Nai Pan Yai Beach and Malibu Beach, also have the standard tourist setup with small hotels, restaurants, shops, bars and massages, but it's much more quiet there and there's absolutely no red light scene.

Here, as players fan out to stake claim and begin building their empire in what sounds like the ultimate MMORTS, the first ones on the scene can find and sell information to worm hole locations for light speed travel to far off untamed systems.

The Jormungandr, Kratos and Atreus continue exactly like the trailer are comparing with other scenes and lights.

As you can see, HDR's ability to have enhanced contrast between the lightest and darkest parts of the picture really elevates scenes like this, with the damp, dark, surrounding cave tunnel juxtaposing brilliantly with Lara's glow stick light source, as too light bleeding in from the exterior.

Even krotos» face would need similar lighting and angles to tell the real depth of any changes, and being so well versed in cgi like you are, you know that such direct comparisons are often hard when the content has dynamic lighting and no way to watch the two exact scenes side by side.