Sentences with phrase «looking film editing»

Youtube pros all seemed to have studio lights, screen backdrops, fancy camera gear, background music that didn't infringe copyright laws and complicated looking film editing tools.

Not exact matches

Whether it's the collage artist who consciously dumps scraps into disorderly boxes or the film editor who prefers old - fashioned editing technology that forces him to scroll through more footage to find the clip he thought he was looking for, all these artistic greats understand that disorder has one exceptionally valuable side effect — more serendipity.

Here's a 2017 British Grand Prix road trip video from a fan that's so beautifully filmed and edited, it looks like it should be a VT shown on TV

These days, anyone can edit game film and make an average player look elite.

generates a «sour» review they could (in theory) change the end of that very show as soon as they read it... the Story NXT tells is set on film (digital file) 4 days to 4 weeks before the Audience sees it, to adjust their sails for that would require back stage re-shoots and post production edits (look at Impact scrambling to re-write their Pre-tape to cover for ADR's release)... easier to let it ride, see if the opinions stay sour, and then IF Needed adjust the angle for the next taping, at which time they'll have a better idea for the correction and can make it look more organic

I've filmed a «Get Ready with Me» video and am currently editing to be live this week in case you're interested in cat copying this look!

The circumscribed aesthetic of the cheap thriller film - within - the - film that Binoche is shooting — made clear from the shot - reverse shot editing and close - ups antithetical to the look of the rest of the film, shot mostly in single takes — signals that we're somehow outside of Haneke's world, even though we're actually buried deep within its layers.

Jarecki certainly thinks his subject deserves such an accolade, and he's made a great - looking film to make his case, one that is edited gracefully and briskly — and leaves the heady aftertaste of birthday cake.

The film does look decent too, with atmospheric scenery and the editing is already an improvement over most SyFy movies in terms of quality.

And despite us knowing for the most part where the story will go, the film is still very loosely edited; it doesn't have the raw, breakneck intensity that made La Haine so good, and there's only so much we can look at a run - down street before we start to lose interest.

Witless, insultingly derivative, muddy - looking, and edited in the hammering epileptic style that marks so many films produced, as this one is, by Michael Bay.

It's an insightful look at how Wheatley wrote, directed, and edited the film as they were filming.

And despite the film's meticulous editing and strong performances — especially from Cate Blanchett — this voyeuristic look at one woman's tragedy may leave even some adults feeling let down.

Nothing about this film works: the camerawork is amateurish, the acting is stilted, the characters underdeveloped, the editing looks like it was done by a blind monkey, and as for the plot — the plot makes no damn sense.

The second Blu - ray disc includes an in - depth look at the film with «A Filmmaking Journey» with Steven Spielberg, «Editing and Scoring» featuring Spielberg's long - time collaborators Michael Kahn and John Williams, «The Sounds of War Horse» about the sound design and «Through the Producer's Lens» which takes a look at the photographic journey of producer Kathleen Kennedy.

Director Canuel, who shot this in Canada where he, Plummer, and the play all originated, injects some cinematic flourishes unachievable on stage, having the film assume the look of an old black & white movie and editing together self - conversations.

Look at the camera angles, the editing choices, the use of music — «The Knick» is our most film - like show on television.

He provides a running, screen - specific look at the original film and its adaptation, cast and performances, influences, story and characters, sets and locations, cinematography, editing, music and related areas.

Her appearance, to look down her nose at an investigating Lois Lane, feels like a moment that was debated in the editing room, but other reinserted pieces have the extraneous aura of being planned for a Blu - ray long before the film even hit theaters.

Nic Roeg's DO N'T LOOK NOW starring Donald Sutherland and Julie Christie is a superlative supernatural film with some of the best editing in cinematic history.

Disc Two features Grains of Sand (the building of the Sandman), Re-Imagining the Goblin, Covered In Black (creating Venom), On Location in New York and Cleveland, Inside the Editing Room & Science of Sound and a behind - the - scenes look at some of the film's stunts.

She reflects: «When I was looking to go into the film industry, there was Thelma Schoonmaker, who had won Oscars for her work with Scorsese, and Verna Fields, who edited some brilliant films that I grew up with such as Jaws and American Graffiti.

Indeed, this film looks great, with whizzy camerawork and kinetic editing, and a willingness...

EXTRAS: In addition to an audio commentary by co-directors Pete Docter and Ronnie del Carmen and producer Jonas Rivera, there's a behind - the - scenes look at the movie's evolution, featurettes on sound design, film editing and creating the emotions and the inside of Riley's mind, as well some deleted scenes, the short film «Lava» and an all - new short titled «Riley's First Date?»

We took an in - depth look at the best achievements in cinematography, film editing, and costume design.

There is a step by step look into the film processing technique used to achieve the sun - blasted look of the Mexican scenes; a demonstration of the editing choices and process of three scenes narrated by editor Stephen Mirrione (watching each scene become subtly sharpened and focused through each successive cut is a real education in the art of editing); and an instructional look at the art and technique of sound editing, hosted by sound editor Larry Blake.

The film's director, Luca Guadagnino, masters this juxtaposition, with the audacious editing (Walter Fasano) and cinematography (Yorick Le Saux) creating an aesthetic that is beautifully alluring to look at and yet borderline dangerous.

«Getting Real: Recreating an Era» (11:13) doesn't just deal with the film's recent period setting, but with its look as established by cinematography, costume design, and that Oscar - nominated editing.

It just seems like the Sony marketing department doesn't have enough faith to do a JJ Abrams - like slow build, and instead decided to bombard moviegoers with as many cool looking shots from the film edited into a neat little package (something I think works closer toward release).

«The Evolution of Hulk» is a really cool look at the character's history in comics, TV and film, while «The Unique Style of Editing Hulk» shows what went into creating the comic book panel look.

Shot for $ 1.5 million over 30 days, Laughlin's film, while heavy on extended takes and a few awkward edits, overall looks very nice, and Elite's transfer marks the first time the film's been available with its original, evocative Technicolor - styled cinematography by Louis Horvath (who also photographed «Chandler,» and Laughlin's other directorial efforts); and in its original aspect ratio, which, in previous full screen versions, chopped Condon's second appearance as a «dead kid».

Bonus materials include: Twist by Polanski (a documentary from director Roman Polanski's point of view), Kidding With Oliver Twist (the young stars share their experience while filming Oliver Twist) and The Best of Twist (a look at the sets, costumes, photography, editing and music of the film).

In dramatizing Mathison's script, Spielberg and his usual army of key collaborators — led by Janusz Kaminski (director of photography), Rick Carter (production design), Michael Kahn (film editing), and John Williams (original musical score)-- have fashioned a movie for children that looks at home in modern cinemas while retaining an «old - fashioned» pacing and temperament.

Topics discussed include Brolin's goatee continuity, the challenges of recreating such a recent period, the time it took to get the movie going, the films researched for look and feel (Body Heat for sweat, Stand by Me for nostalgia, Terrence Malick movies for editing), shooting things quickly documentary - style, and bits that were lost (including a Budweiser print ad meticulously recreated

Slight yellow tones are predominated throughout the nicely shot film with high class editing and a look that feels bigger than it likely was.

For both episodes, series creator Justin Simien offers a running, screen - specific look at the original film and its continuation, story / characters, cast and performances, sets and locations, music, costumes, editing, influences and related topics.

Extras include Extras include a behind - the - scenes look at making the movie, as well as four additional featurettes on sound design, the score, editing and the film's scientific concepts.

(a story reel is a rough edit of storyboards combined with music and sound effects) This will give Hollywood a complete look at the Goon film's potential... from his early life in the carnival to busting heads in the mysterious town with no name.

In the film editing category, for instance, BAFTA has presaged wins for «Whiplash» and «Hacksaw Ridge» when most pundits were looking elsewhere.

The editing is wonderful and the look of the film is colorful and stunning, with some of the most «invisible CGI work of any film in this genre.

The cinematography was most excellent, loved how fluid the film was with editing to make it look like one continuous take.

I will film a video today and post it up and link to you so you can checkout how PDF books; look, work, edit, and everything else!

Featuring repetitive cuts and edits from a «blue» movie from the 1950s of a famous Monroe look - alike, Arline Hunter, Conner puts music to this rare collage film.

Intimate collections and ephemeral communities are frequently generated through his works; assemblies of owners of a particular jacket and a reunion of the children «murdered» in a Pasolini film; a god look - alike contest; lighting technicians asked to advise on the light in heaven; and a London gallery's archive given to a group of Kurdish asylum seekers to edit and hide outside the capital, to list a few.

Connections for one, but also because the final films will be edited (in terms of light / angles / music, etc) and will look more appealing (unless you yourself are a film - making pro).