Sentences with phrase «motion shots from»
Strange gets distracted looking at a patient's X-Rays, crashes his vehicle, careens off a cliff, and the slow - motion shots from inside the car shows the audience how Strange injures his hands.
https://www.thewrap.com/ Not exact matches
«I really love that slow - motion shot of Kylo and Rey back - to - back with the guards from all the sides in Snoke's chambers,» Johnson told Business Insider in a recent interview.
The immediate question is not one of knowing precisely whither the current is taking us and how we shall shoot the rapids, but simply of deciding, having reached the fork, whether we are following the main course of the stream — that is to say, are not detaching ourselves from the World in motion.)
On the ping of the bat she snared a two - hop shot, transferring ball from glove to hand in one fluid, fast motion and fired a strike to second baseman Karlee Sparacino to start an inning - ending double play.
This recent one from his European captaincy in the inaugural EurAsia Cup, however, was the perfect action shot of one of Spain's great athletes in motion.
Ozil appears to have so much time on the ball it seems like slow motion — wouldn't be surprised if he is conducting a quick mental calculation to work out what he should do next to maximise the probability of a goal — shoot with his weaker foot or pass to someone in a better position — last two games he chose the latter with goals resulting from both decisions.
A motion for Parliament to set up a parallel committee to investigate an issue in which the President received a Ford Expedition vehicle from a Burkinabe contractor was shot down by the Speaker Edward Doe Adjaho.
Karas then shot down the motion, saying the «IPO» remark is «open to interpretation» and could create a «jury - confusion problem» because it's «completely different» from the bribery charges the breakaway Democrat faces.
The motion filed today is a response to the a 28 - page memorandum from the U.S. Attorney's office seeking to shoot down Mr. Silver's original motion to dismiss the charges.
I then came up with a sketch for where and how I wanted to sharks to be overlaid on the base dress, with the intention of creating shapes that resembled shark fins and trying to create motion by having the shark dive down in some areas and shoot up from the water in others.
Shot in slow motion, not very different from how we've seen this moment play out in historical dramas, Tarantino builds to the violence with his unbridled bloodlust on full display.
This is a shallow, simple shooting gallery you would expect from a motion control minigame collection, adding a VR layer to expand it to 180 degree action isn't enough and even if you are engaged there is no way to compete against yourself, let alone the world.
Only Cundey asserting himself now and again (particularly in a masterful ménage a trios sequence shot in hallucinatory slow - motion) grants The Witch Who Came from the Sea its lingering cult status.
What's left is pretty frugal, indeed: a loosely - sketched, moronic master plot complete with a final slow - motion shot so saccharine and hilarious that it looks to be on loan from Ford's sometime - collaborator and child prince of the stupid ending Steven Spielberg.
Also, to Ms. Taymor's credit, she intelligently provides at times inspired touches such as — stop motion action shots, color tinting in brightly exotic desert shades, finely textured black - and - white sequences, shots of Diego in New York to do the Rockefeller commissioned mural against a lively Dadaist collage of the New York setting, Frida's dream of her hubby as King Kong, a puppet show in the hospital (with the help of the gifted Quay brothers animations of skeletons in the post-accident emergency room — the skeletons were copied from one of Frida's paintings).
With some help from his grifting girlfriend Jezebel (Roselyn Sanchez), Hudson sets a plan into motion that will draw Cue Ball Carl and crooked cop Timothy Mortensen into a dangerous confrontation, but if the plan doesn't go just as planned Hudson might not live long enough to call his next shot.
Of course his brother Loki makes an appearance as well, taking a break from starring as the villain of another major motion picture to shoot light beams at his bro.
Rosi uses the same montage style from the «baptism murder» sequence in Coppola's film, cutting from a lavish dinner held in Luciano's honour to scenes of bosses being shot to death in various locations, mostly in Peckinpah-esque slow - motion.
With its ambiguous ending, Tattoo seems to evoke François Truffaut's Les quatre cents coups (The 400 Blows, 1959), the legendary French New Wave film about another «troubled» teenager who experiences freedom only when he is in motion — whether while spinning in a rotor's drum or when running away from the reformatory in the film's famous concluding tracking shot that culminates in a zoom - in - on - freeze - frame image of his gaze addressing the camera.
Ranging from gliding camera movements and symmetrical shot constructions to slow motion and rich sound design, Jenkins deploys a wide range of techniques with refreshing confidence and enthusiasm.
Director Alexander Korda shoots Marius, whose rolled - up sleeves and hardheaded attitude are comparable to the immigrant gangsters in U.S. cinema from the period, in wide shots that allow the character's actions to dictate the camera's movement, which gives his restlessness more presence than if Korda's camera were constantly in motion.
Helmed by veteran TV director Mimi Leder in somehow small - screen - friendly Panavision (that she manages to make her panoramic establishing shots look like the stock transitions in any episode of «Hart to Hart» should be included in a textbook somewhere), the picture goes through the motions — from discovery of the peril by naïfs to the involvement of the Internet to the slow - in - coming participation of the powers that be — of a genre most recently (and faithfully) resurrected by The Day After Tomorrow.
The main carryover from Woo's Hong Kong thrillers is the elegant sense of craft in his articulation of action sequences, though the degree of stylization is much less: Woo specialties, like slow motion, tend to be restricted to short individual shots rather than taking up whole sequences.
The hallmarks of his rough - edged, location - shot style (gritty textures, slurred motion, blown - out source lights, and oversaturated colors) are analogous to the calculated use of distortion and feedback in commercial music: the surface static keeps the dance beat and pop melodies from seeming saccharine.
In the case of Gun Fury, this includes shoot - out choreography, barroom composition, and the heightened depiction of forward motion, from galloping tracking shots to camera angles staring down a row of reigns as horses sprint headlong over the desert terrain.
From the opening sequence's fast - motion shots, rapid editing, and hallucinogenic flashbacks of a child, we quickly realise one of the main objectives of Mad Max: Fury Road is to create a visual experience.
Ignatiy Vishnevetsky, AVClub.com: «Despite its illegible chase scenes, awkward slow - motion shots, and fumbling attempts at political commentary, No Escape manages to be intermittently interesting, thanks to an off - beat supporting turn from Pierce Brosnan and the intrinsic curiosity factor of watching a film mishandle an inspired premise.»
Other non-starters include Camera (essentially a hidden object puzzle where you're looking to take photos of on - the - run criminals), Patchwork (a tiresome pattern - matching puzzle game), Ski (a motion - controlled top down game very similar to the F - Zero mini-game from Nintendo Land), Kung Fu (a frustratingly slow - paced platform game with the art style from Ōkami), Design (a thinly veiled excuse to indulge Shigeru Miyamoto's love for guessing the length of objects (no, really)-RRB-, and Ashley (a tedious 2D shooter without any actual shooting).
Director: LAMAR+NIK Release date: August 8 Why it's great: Zach Braff's favorite band printed out a shitload of photos from a video shot on a white background, printed them out, turned them into more than 5,000 stickers, and created a stop - motion effect on live backgrounds, which sounds super time - consuming and very hard.
Though the movie isn't without the typical Bayisms (from the overuse of slow motion and lingering shots of the American flag, to the corny dialogue), «13 Hours» is a marked improvement compared to his recent output that harkens back to earlier films like «The Rock.»
Returning director J. Lee Thompson manages to stage some exciting desert battle scenes, cutting on motion from one rapid horizontal tracking shot to another (reminiscent of his excellent 1958 WWII film ICE COLD IN ALEX, aka DESERT ATTACK), but the story is simply a routine
But while Creevy struggles with the basics of suspense — often indulging in the same hacky, buzz - killing slow motion shots as he did in Welcome To The Punch — his direction of the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahn.
«Visual Effects in Motion» (3:40) briefly and effectively shows us the many layers of CG effects added to a handful of challenging shots, all but one taken from the film's climax.
When the federal police show up to arrest him, Quaid kills an entire team in a few quick movements (Director Len Wiseman shows it in a fake one - take, a choice that makes infinitely more sense than the reliance on random slow motion shots and lens flares from randomly placed light sources that he shows through the rest of the movie).
Plus the film is from the mind of Zack Snyder, so you're going to get plenty of slow motion shots and astonishing unbroken takes.
Bay continues to use extraneous slow - motion shots of robots jogging, leaping, and flipping cars over, and the action sequences are lifted wholesale from the two previous movies, including a highway chase, fleeing a snake - like machine with a buzz - saw mouth, and that protracted final clash in a city (this time Chicago).
The climactic shoot - out registers the nihilism of the gangsters» lives, but To distances himself from it, staging it in the time it takes a soda can to fall to the floor in slow motion; the viewer is encouraged to step back from the bloodshed and reflect on how rapidly everything can change.
In the opening shot from Goat, a mob of delectably smooth male torsos can be glimpsed jumping up and down in slow motion, bonding against the camera.
Cloud Atlas by David Mitchell contains «never - before - seen footage from the major motion picture, behind - the - scenes material shot during production, and interviews with the author, directors (Tom Tykwer, Andy Wachowski, and Lana Wachowski), and actors (including Tom Hanks, Halle Berry, Hugh Grant, Hugo Weaving, and James D'Arcy) discussing both the book and the film.»
We'll have the third part of the series next week, which will dive into more detail on the year - long motion capture shoot that was undertaken for BEYOND: Two Souls, and you'll hear from lead actors Ellen Page and Willem Dafoe on what it was like to be involved in such an ambitious project.
New motion capture animations for everything from faceoffs and shooting to post-goal celebrations add even further realism to the game.
I originally had a shot from in - game, but since it was just a scaling animation to mimic a camera zooming out there was no parallax effect; Motion Twin sent me a Photoshop file which allowed me to make the shot in After Effects with 3D layers.
- E3 2014 video was running in real time and in - engine - the scene shown was made especially for the trailer - the scene with Link shooting arrows at the Guardian on his horse, jumping off, and firing off one last arrow in mid-air at the enemy in slow motion, was a gameplay element that hadn't yet been implemented - Aonuma «really wanted to put that in the game» and made this happen as development went on - the team expanded on the game's story as well, which was brought about from the E3 2014 trailer
Now in non-slow motion His jacket and sun glasses fly off He then faces the camera still in mid air and from behind his back he pulls an Apple launcher and shoots it straight at the camera the Apple splats on the camera.
The further I ran into Act 3, the more bugs I encountered, being killed by an invisible Caragor (flailing motions and everything, but no button prompts) in one instance, being killed by non-existent archers or spearmen, and having an Orc one - shot kill me with a sword from across the room.
Straight from the arcades, this fast - paced shooting game is more realistic than ever with enhanced graphics and PlayStation Move motion controller compatibility.
Earlier this month, the developer let loose an intial motion capture - themed image, showing off a collection of mo - cap actors «fresh from a test shoot.»
Even loading a quick exhibition match takes you through the motions with a roaring crowd, sweeping shots of the octagon, bright cage lights, and fighter announcements from Bruce Buffer.
However, based on previous middleware licensing from Rockstar, it's almost a safe bet that they'll stick with NaturalMotion's Morpheme and Euphoria engines to give characters that natural motion when they move, fall, run, get shot, fall off horses, fight and interact with the environment.
By looking at the TV to identify your target and using the motion controls on the Wii U GamePad controller to aim and shoot with precision, the game lets players feel like they are right in the pilot's seat, especially when using the game's «3D Voice» feature to hear squad - mate audio directly from the GamePad.