Sentences with phrase «move the camera angle»

You can use the C stick to move the camera angle at any time while the Wii version has the camera locked.

The action stage moves the camera angle to a lower down third person perspective and the game serves up a nice slice of action as you go head on with the invaders.

Not exact matches

But we were moving, and the camera was moving, so I had to be aware of the angle to the camera to make the punch look good.

Move with your camera to capture different angles to share your own perspective.

When your Project Nursery Smart Nursery Baby Monitor system is connected to Amazon's Alexa technology, you can quickly and easily ask Alexa to turn on white noise or a lullaby, check the nursery's temperature, take videos or photos and move the camera viewing angle, among over 70 pre-loaded Amazon Alexa Project Nursery - specific skills.

Because phone cameras don't have moving parts, they use a «fixed focus» lens, which treats a scene the same way a wide - angle lens does: all objects are in focus, so depth is missing.

«Automatically tracking the joint angles enables the system to produce a high - quality map even if the camera is moving very fast or if some of the sensor data is missing or misleading,» Klingensmith said.

Seeing them move through the room with the camera to get exciting angles of the dancers working was awesome.

I gave this game a 3 because it has brutal camera angles, i beat the game in a week, and the fighting moves are the same you just keep clicking B and Y nothing else in fights... and theres no co-op me and my friend were gonna rent this game but it wasnt co-op so mehh and my cousin got this game for easter so i borrowed it for a week and beat it... oh and crap gameplay and 4/10 graphics... cmon boys you can do better if ur making a second one and in new moves and more buttons.

Being De Palma, the film is shot well, with trademark camera moves, angles, and expressive lighting, but that's really the only highlight.

Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis» point - of - view, where De Niro's now - famous «You talkin'to me» improv becomes one more sign of Travis» madness.

This is a story dominated by men in coats and ties in visually uninspiring offices, but Spielberg and cinematographer Janusz Kaminski keep the camera moving and the angles varied.

Wilder doesn't get overly flashy with camera moves and angles, but he does shift positioning subtly and effectively.

When an actor begins to sing, the camera rushes in and fastens on the performer's face, positioning itself just below the head, somewhere between the navel and the Adam's apple — and canted from 30 to 45 degrees, although the angle changes as the performer moves and the operator scampers to keep up.

The overhead shots and wide angles are used very effectively in capturing images like the boats on the water or even the cities in the back of the frame as the camera moves away in an unbroken tracking shot.

He often likes to hold long takes from a single angle and just when you think the camera has to cut or move away the shot's meditation will linger on a few moments longer.

We can not know for certain why he chose certain angles or options, but we can consider Fincher's other work, and what we find is a director that moves through space with his camera and allows his actors to move in space.

By focusing on fighting from a 2D perspective Namco and ArcSys allow the hallmarks of the series to shine, with flashy special moves and cinematic camera angles all designed to wring every last drop of nostalgia from Dragon Ball fans — with those same scenes so well crafted that they might even imprint on first - timers in the same way the original show did.

The exterior settings feel both more real and more grand - just the establishing shots are more epic - and the camera pans, moves, and shoots from angles that purposely sets Rogue One apart from the rest.

The constant obtuse camera angles, the ceaseless moving frame, quick cuts, and the high - contrast and washed out look

I would estimate that 98 percent of the time (I wish I had a graph), Anderson's camera is situated on a tripod or a dolly, moves only at right angles, and always with clockwork smoothness.

One protégé after another quotes the head man's practical advice about speed, angles, movement; in a particularly ingratiating moment, Demme is talking into the camera, recalls Corman's adjuration to keep things moving, and (spontaneously?)

It's the moving of cameras and changing of angles that takes up most of the filming time.

Sometimes the motion is as simple as a background of TV static, sometimes it's as complex as a scene where the camera angle shifts while the characters are moving.

Instead, move one shoulder to a 45 - degree angle to your camera lens — you'll look more approachable and natural.

Simple controls let you power on and off, change modes, start and stop recording, adjust camera angle and add HiLight Tags on the move.

However, since the camera is locked to a top - down angled view, sometimes the directional controls can get choppy, especially when moving diagonally.

Unusually for a turn - based game there's no overhead view that provides a constant bird's - eye view except for when bringing up the strategic map for a better look at the situation, rather characters are moved using WASD and a traditional third - person camera angle that firmly places emphasis on line of sight and spotting enemies, because once a foe moves out of your vision he / she / it can no longer be tracked.

Players typically have a birds - eye view of the board, but you may find yourself adjusting the camera frequently as some of the default angles make it hard to see enemies in a corner or whether or not you can move to a space.

Some areas are played with a camera angle that makes the game appear as a sort of 2.5 D view, and although you can still move in all directions, these parts play almost exactly like 2D Metroid games, and it works well.

There is only a single camera angle which is placed behind the hydro jet from a third - person perspective, although it is well positioned it can not be adjusted for any players who wish to move it further forwards or backwards, while it can not be panned around the hydro jet, although the ability to look behind the hydro jet has been added resulting in players now being able to check if an opposing rider is catching up with greater momentum through a straight to overtake on the inside or outside.

The control scheme consists of holding R2 to accelerate; pressing L2 to brake or reverse; pressing X to engage the boost; pressing L3 to switch between boost types, hover or beep a horn on applicable vehicles; pressing square to apply the e-brake; pressing triangle to change camera angles; pressing L1 to look behind your vehicle; pressing L1 and R1 simultaneously to enter crash mode; pressing R1 to select the next song on the soundtrack; pressing right on the d - pad to open and navigate through the easy drive online multiplayer menu; moving the direction of the left analogue stick to the left or right to steer your vehicle accordingly; moving the direction of the right analogue stick forwards, backwards, left or right to appropriately manoeuvre the third - person camera angle to look in that direction; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

More comfortable 3D viewing The super-stable 3D function allows the system to recognise your face using the inner camera, automatically adjusting the angle — even if you move a lot during gameplay — to give the best possible 3D experience.

Even though the camera angles are positioned at appropriate distances for first and third - person perspectives; there is no optional re-positioning of the camera angle to bring it closer to or further away from the bike as has been expertly utilised in WRC 4 on Vita and MXGP on PS3 with a slide bar that could be moved 20 clicks further forwards or backwards from the rider to customise a third - person perspective that is suited to your preferences, although the focus of every gameplay camera angles except for the camera looking ahead from the front of the bike can be adjusted in order to look to the left, right, below or behind the rider.

A number of bonus areas, in which Mario is thrown into more cramped platforming gauntlets, are particularly hindered by the camerawork, as it can be difficult to get the camera in the right angle while simultaneously trying to make sure Mario doesn't fall to his doom on a tricky, moving platform.

- get Public Works tasks from Isabelle - early on you'll have to build a school - choose the outside look from a selection of options then work on the inside - inside includes work on benches, lockers, tables and more - later you'll work on a hospital, cafe, a shop and more - the hospital tasks you with working on multiple rooms - use the stylus to drag and drop items into the playing field - tap the object to change the perspective and move them all easily to somewhere on the grid - drag the characters around as well - tapping on the D - Pad lets you change the camera angle - move around with the Circle Pad and interact with others by pressing the A-button - the plaza is where old and new animals are gathered - a speech bubble above a head denotes requests - once you've wrapped up the development of a property, a scene will play where the animals interact with the property - animals will say specific things when they are in stores / school or comment on things that are placed around the house - throw in your own favorite characters by purchasing amiibo cards - scan them and they will enter the house or scene - cards also give requests from characters before you even meet them in the game - some characters are exclusive to the cards - put data back on the card and give that information to the friend

The camera will also decide on fun angles at completely inopportune moments and refuse to let you move out of them.

Move Gizmo planes disable themselves at sharp angles now (to help prevent moving objects out very far when the planes are near parallel with the camera)

Unfortunately I often found myself fighting the controls, as I used the circle pad to move Sam and the d - pad used to control the camera angles.

The game will be the first HD entry in the series and retains the classic 2D platforming style of the previous title — although the camera angle will now move around the action at certain points.

We used Wwise mix states that would swap out as Batman moves through different environments and camera angles.

By doing more such as viewing optional events, and increasing your approval rating, you might unlock new dance moves, songs, camera angles... You can also do your own dance routines using the PlayStation Camera, though I don't have one so couldn't testcamera angles... You can also do your own dance routines using the PlayStation Camera, though I don't have one so couldn't testCamera, though I don't have one so couldn't test that.

Players have the ability to kill or knock unconscious wounded / vulnerable enemies via finishing moves (e.g., throat slashing, impaling, pistol - whipping); these scenes are highlighted by close - up camera angles and increased player control (e.g., on - screen prompts with button - press sequences).

I had the best remote play experience with F1 2016 after creating a custom control scheme in which acceleration was re-mapped to R1 with braking moving to L1 and switching the camera angle changing of R1 to the right of the rear touch pad and moving the voice control menu from L1 to the left of the rear touch pad; therefore providing a comfortable control scheme much better suited to the racing genre.

The default control scheme consists of pressing R2 to accelerate; pressing L2 to apply the brake or reverse the car; holding X during manual starts; pressing triangle to activate or deactivate DRS; pressing X to manually shift up a gear; pressing square to manually shift down a gear; pressing R1 to change the camera angle; pressing O to produce the multi-functional display; pressing L1 to produce the voice control menu; moving the direction of the left analogue stick to the left or right to steer your car in that direction; moving the direction of the right analogue stick forwards, backwards, left or right to appropriately manoeuvre the camera angle to look in that direction; pressing up, down, left or right on the d - pad to scroll through the MFD menu; pressing R3 to chat in online multiplayer; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

Try moving the camera so it's behind you - it'll make jumping at the right angle easier.

Each room is set up in a similar way to Captain Toad except you can't move the camera around to look at different angles.

Vast customisable camera options allow players to set specific parameters for the cockpit, TV pod and TV pod offset with a 40 point system for genuine customisation for the field of view and horizontal offset to be zoomed in or out; lateral offset to be moved further to either side; vertical offset to be raised or lowered; angle of camera to be increased or lowered in height; near clip plane decides at what distance a nearby object is no longer rendered; the mirror angle to be increased or lowered in height; as well as the amount of camera shake, camera movement and a look to Apex limit that is displayed in degrees.

It's a deadly dance of frustration and throwing caution to the wind, as swinging your weapon while moving around like a tank doesn't always respond to the awkward controls, and then you'll also struggle with seeing what's going on as the camera likes to be in strange angles and get trapped in buildings, making it just as bad as your enemy.

In XIII the camera would slowly zoom in on the character when you're not moving and you can bring it in even closer by angling the camera downward.