In films such as Swinging the Lambeth Walk (1940), where drawn and scratched lines undulate in striated verticals and sine - wave - like horizontals to a jaunty jazz sound track, and Free Radicals (1958), in which chalklike inscriptions streak and sway across a pitch - black screen accompanied by African music, New Zealand animator Len Lye used the cinematic apparatus to
make static frames (cels) appear to move.
Not exact matches
The deep - seated core muscles on the other hand envelop the skeletal
frame which
makes them mostly
static.
As opposed to the frantic handheld camerawork of Shiri, JSA
makes full use of its widescreen
frame (it was the first Korean film to use Super-35, the Hollywood big - budget standard), to create more deep - focus
static compositions.
Reflecting this notion is the beautiful, largely
static camerawork by cinematographer Roger Deakins (superb work again after True Grit), who
frames the interiors of this rather muted and drab setting in a way that it
makes the characters appear like prisoners of their own personal values and motives.
This is something that all HDR standards do, but as we've already discussed, HDR10 has
static information, whereas Dolby Vision can set the brightness for each
frame,
making it more accurate.