Sentences with phrase «motion as the viewer»

Such distinct layers produce a surprising sense of depth and motion as the viewer's eye moves from one plane to the other.

Not exact matches

PRO: The «Bite and Smile» is so familiar to audiences that its lift - bite - chew motion operates subliminally — rather than intellectualizing the process, a viewer simply regards the footage as a natural activity associated with your product, like scenes of a car being driven or a mobile phone being talked - on.

According to a new paper titled «Slow Motion Increases Perceived Intent,» viewing an action in slow motion compared to regular speed can cause viewers to perceive an action as more intentMotion Increases Perceived Intent,» viewing an action in slow motion compared to regular speed can cause viewers to perceive an action as more intentmotion compared to regular speed can cause viewers to perceive an action as more intentional.

Some will say that exploitation filmmaking is not the venue to adequately address these topics, as depicting sexual violence to make a point may lead to viewers taking the wrong message away from the motion picture (and there's certainly a modicum of truth to this assertion).

Stewart plays out the film as if it were a traditional «haunted house» film, but because we already know it is about alien life, we merely watch the characters go through predictable motions until the story catches up with what we already surmise, and the only things keeping viewers reeled in are basic questions such as, «why are they doing this?»

Inspired by Sean Baker's Tangerine, Soderbergh also shot this motion picture on an iPhone and purposely gave it a squalid, lo - fi look in order to help magnify Sawyer's psychologically induced paranoia as much as possible, and while this visual aesthetic suits the material perfectly, it will just as likely turn off a small subset of potential viewers sight unseen at the same time.

The category of Best Motion Picture — Drama was easier to predict, favoring such critical darlings as Todd Haynes's «Carol,» George Miller's «Mad Max: Fury Road» (which many viewers would consider quite comedic), Alejandro González Iñárritu's «The Revenant» and Todd McCarthy's «Spotlight.»

Director Baltasar Kormà ¡ kur («The Deep») and screenwriters William Nicholson («Unbroken») and Simon Beaufoy («127 Hours») are slow out of the gate (there are many details to and players to set in motion), but once in motion they deftly unfold the perfect storm of bad weather, miscommunication, and fateful decisions that led to the tragedy in a way that sneaks up on the viewer much as it does the characters.

Isle of Dogs Behind the Scenes (in Virtual Reality) / (Lead Artists: A collaboration between Felix Lajeunesse & Paul Raphael and the Isle of Dogs production team)-- This virtual reality experience places the viewer inside the miniature world of Wes Anderson's upcoming stop - motion animated film, face to face with the cast of dogs as they are interviewed on set, while the crew of the film works around you to create the animation you are seeing.

On the passenger's side, viewers see a landscape in motion — as if the car and its internals simply didn't exist.

The first promotional videos of Kinect set player expectations unhelpfully high, wowing viewers with the prospect of fully motion - captured real - time kung - fu duels, and a racing sim a family can play from the sofa, with a second player serving as your pit crew.

More and more artworks exist not as objects but as ephemeral events — a conversation, a thunderclap, a slow - motion kiss — that insist viewers take part.

This exhibition also includes a new work from the Bruce High Quality Foundation, which exploits the cultural importance of cinema to the mythos of car culture as the brightly hued bumper of a New York City taxi, equipped with a motion sensing device, which interrupts the viewers experience, delivering the soundtrack of the movie Taxi itself as the spectator approaches.

She then laid out the video frame by frame, just as she did with the eagle video in Almost Like Rebar No. 2 and the video of a girl in a grass field in Almost Like Rebar No. 4, which enables the viewer to scrutinize every transitory moment otherwise unnoticed in a continuous motion picture.

In this case, the work presents well as a stationery piece and it's actually best left to the viewer's imagination as to what it would look or sound like in motion.

The entire room is given a blue tint by an illuminated ceiling, as projected slow - motion loops of six men and six women, alone in their frames, perform an unresolved gesture without acknowledging the viewer, like opening an apartment door, or floating (or sinking) in water.

The work stimulates live musical compositions, as the artist's description of the work explains: «The basic idea of these sound spaces is to provide the viewer / listener access to his own individual spaces of time and motion.

As the viewer approaches, a motion

The orderly nature of the lines seems to contradict the haphazard nature of their making, yet Nawa's work forces viewers to consider the effects of air pressure, distance, and the motion of the pendulum as agents in making the work.

We will begin by looking at the early history of photography, emphasizing genres such as spirit photography and motion studies, which allowed viewers to see beyond ordinary perception.

Whether dealing with inherently human issues, digital simulacra or pop culture landscapes (and in response to the ubiquity of well crafted fiction in video art) these videos are all concerned with presenting individual and subjective truths, maintaining the viewer as the final interpreter of the discourses they set in motion.

Most recently, installations deal with the theme of domicile, as doorways beckon, and the viewer's perception of space is set into motion, as walls constantly appear to shift, advance, and recede.

In motion, the artist appears mid-glance, leaving the viewer to construct their own theories as to why she is there and what she may be looking at.

Harry's Eyes, a sculpture with motion sensors embedded in hand - blown irises, tracks the viewer as soon as they step across the threshold.

The viewer is always described as in motion even if that motion is only the constant micromuscular adjustments that are the corporealized condition of bifocal vision.»

«Proceeding from her geometric drawings of 1973, in which elements of the work were set in motion, Genzken now began to mobilize viewers themselves and to define sculpture as a series of performance events in space to be executed by the beholder.

Shifting in unexpected ways as the viewers walk, the sculpture creates a surprising experience of space and the sensation of steel in motion.

After working in both the film industry and as a photographer on assignment, Shive created Tandem Stills + Motion, an environmental film and photo company based in Los Angeles, California, where he works to connect viewers with the natural environment.

Viewers can interact with the 3D image via motion tracking or an external interface such as a traditional gamepad, or a gesture input device like Microsoft Kinect or Leap Motion, or Emotiv's Brain Sensor electroencephalography hemotion tracking or an external interface such as a traditional gamepad, or a gesture input device like Microsoft Kinect or Leap Motion, or Emotiv's Brain Sensor electroencephalography heMotion, or Emotiv's Brain Sensor electroencephalography headset.