Sentences with phrase «moves its cameras like»

To pull it off, Alejandro González Iñárritu masterfully guides his cast and moves the camera like an expert.

Not exact matches

So perhaps Ms. Peeters» film can tell us some things about us as well — it does not hesitate, after all, to move its camera from the harassing men onto the various soft - porn advertisements that also haunt the streets of Brussels, and ask the old - fashioned feminist question, one which Ms. Brown's magazine actively mocked and undermined, «How can we be respected when images like this are displayed and circulated?»

It's not fully clear from the camera view but it looks like he could've held the wheel of his Renault F1 beast steady with his knees, which is a smart move.

This allows you to place a camera in every room that your child spends time in so you don't have to worry about moving and positioning the camera every time your child feels like roaming.

Curiosity's navigation cameras snap stereo images like this one that give scientists back on Earth information to help plan Curiosity's next moves.

Alex Hay broadcasted his body's sounds, Robert Rauschenberg's Open Score showed audience members what images made via infrared cameras looked like, and Lucinda Child's piece Vehicle created the impression of dancers moving about while suspended on air.

For stagnant landscape shots, 48 frames per second works wonders, delivering strikingly crisp images, but the moment Jackson either moves the camera or cues a battle sequence, the footage takes on a video - like quality, almost along the lines of a soap opera, and it looks downright awful.

All the while the camera is circling and moving in on good actors (Robin Wright, Audra McDonald, Anne Heche, Cynthia Nixon, Ben Foster, Sigourney Weaver, Ned Beatty) doing their semi-improvisational thing to try to look like nonactors.

The camera (steadied on a dolly or rig) moves right alongside him galloping on horseback, totally in sync and thus giving the illusion of him riding in place like a subject from one of Eadweard Muybridge's Sallie Gardner at a Gallop studies.

In the logic of the film, for the camera to move at all would feel like a betrayal of its contemplative hunger.

Hallmarks of Altman's aural and visual style are evident everywhere - overlapping dialogue, life - like improvised roles and ensemble acting, multiple means of communication to connect the characters (phone calls, tape recordings, radio and TV, and P.A. announcements), a continuously moving camera, long takes, and imaginative sound and film editing.

The scene in which defines her amazing performance is one in which she pours out pure emotion whilst sharing a mud bath with her father — one in which the camera stays with her for what seems like three to four minutes, without cutting or moving, and her delivering a multi-page monologue.

Never in a million years would I have guessed that the same filmmaker might turn around and make something like Tangerine, his punk - as - fuck portrait of a much seedier L.A.. It's not just a total creative 180, but kind of the opposite of a sell - out move: Trading a formulaic story for an unpredictable one and a slick Indiewood aesthetic for a gorgeous, radical lo - fi approach, Baker trains his iPhone camera on the kind of characters — black and transgender prostitutes, immigrant cabbies — that the movies rarely acknowledge, let alone put into starring roles.

Dear god, i was ready to pull my own teeth with the slow crawl through the gloomy landscape, desperately tapping the other buttons that made the camera zoom in, so that i could temporarily make it seem like i was moving faster.

They use the camera in an expressive or poetic way so rarely that when they do bust out a heartfelt flourish (like the long, slow camera move that reveals the Guardians in their spaceship engaged in a sing - along, or the «wipes» that reveal the reality that Thanos» illusions hide, or a climatic fight between Thanos and multiple heroes) it's as if somebody had briefly sparked a dull wedding reception to life by going out on the dance floor and demanding a song with a backbeat.

And the more I talked about that, the more I felt like I have this movie more or less in my head and I know how I would shoot these scenes and how the camera should move or if I were to direct it this is what I would do... Saying that enough times sort of gave me the confidence where I felt like maybe, just maybe, given the right chance, I could take a crack at it.»

Roger praised Kore - eda's film often in context of Ozu, like when he talks about the similar beauty to its simple camera work: «the camera does not move, but regards.»

While known for his wide shots and slow - moving pictures, Villeneuve is also known for excellent camera work that allows for some beautiful work from the likes of cinematographer Roger Deakins.

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.

It's your usual assortment of production anecdotes, but Wynorski is pretty good at screen - specific observation, cluing us in on which shots required the most work behind the scenes — like the tracking shot through the furniture store that forced stagehands to move furniture into place and stay out of frame as the camera rolled backwards through the set.

«I knew I wouldn't have enough time for camera movement or a whole lot of action... I had a whole bunch of people and made it like Nashville where you can always cut away to another little sub-plot, and it seems to be moving even though the shots are static.»

The way you aim your camera is by actually moving the 3DS similar to playing an AR game which feels like it's a little much.

Scenes often open with trick photography that make cars and buildings look like toys, while a trailing, floating camera not - so - subtlety mimics the moves of third - person video games during several action scenes.

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.

Wan moves the camera — panning from room to room — with fluidity and grace, but also utilizes the wide screen format brilliantly when trapped in one room (like when Ed interviews Janet).

It has all the good and bad elements of Anderson's style, including some of his best straight - ahead compositions (the ones with the camera facing perpendicular to a rectangular object like a wall or train while the characters either look straight ahead or move sideways as the camera tracks with them, often in slow - motion) and a vibrant use of color (including the blues and yellows he also used well in The Life Aquatic).

My idea about camera movement is if we're moving both cameras ever so slightly, it feels kind of like a floating camera.

Sometimes his camera pans through the diorama - like sets, and once or twice he tows his figures along as if they're on a moving walkway.

Of course a documentarian like Crystal Moselle must have been champing at the bit to find the closest camera to record their every move.

At the red carpet team's request, the camera went in for a tight shot of Theron's sheer gown — not a porn star outfit, like a lot of red carpet getups, but a pretty decent tightrope walk between class and naughtiness, the haute couture equivalent of a Johnny Carson double - entendre — then moved the camera from head to toe like the Big Bad Wolf ogling Red Hot Riding Hood.

It's a great looking game — you can even see Donkey Kong's fur, which moves around as he swooshes through the levels, and there's some brilliant dynamic camera work which really adds to the look and feel of the game; it feels like much more of a 3D world than a simple 2.5 D platformer.

Even Altman's practice of shooting much of his action with two cameras can be linked to Renoir's TV - inspired use of multiple cameras in the late 1950s, while his tendency to keep these cameras moving (resulting in a prowling effect that harks back to The Long Goodbye) adds to the Renoir - like feeling that more is going on in this fictional world than one could possibly encompass.

... As long as the camera is moving and reminding your eye that you're in 3 - D — because if it stays locked off then you don't feel the impact of it — you can design these beautiful creeps, and let the actors move in the space and really feel like you're in the room with them.

And watch this game's DEVELOPER DIRECT and you'll see Kiochi Hayashida say that you can still move the camera freely, to play the game just like the other 3d Mario adventure games.

I played it on the PSP, but like the camera controls better on this since you can swipe to move it around.

One of the director's rare commercial flops, «Under Capricorn» is still notable for its complex, long - take moving camera scenes (like the ones in «Rope»).

They're certainly moving the camera a lot — frankly it feels like they're auditioning for a superhero gig and not for nothing, they're up for the Flash movie — and making some choices, like using models for transition scenes instead of typical cutaways or beauty shots.

The cinematography's fluid and dynamic moving camera complements the supernatural theme, revolving in elegant ballerina - like turns around characters and swooping round others to emulate the comings and goings of Ofeig the ghost himself.

This is no staid period piece; shot like an action film, with handheld cameras and 360 - degree sets, it's visceral, bloody and moves at a breathtaking pace.

I especially like the trick where the camera slowly pans in a circle and the people on screen move around behind it and show up in unexpected places.

The shaky cam is gone, but the camera still moves around slightly, like it's a home video, therefore giving you the best of each.

Utilizing hidden cameras, the picture is constructed like a thriller, while providing us with a moving portrait of the Nobel Prize - winning activist.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

It's Ozu's unique way of bringing realism to a film that allows for such speculations: despite his unusual editing style, tatami - level camera placement and generally fixed camera (though it moves more here than in any Ozu I can recall), everything in an Ozu film feels real: people talk like normal people about normal human issues.

It also feels like movie history in the making (you even hear the film moving through the camera), having more impact than the typical promotional featurette or retrospective.

The way the camera moves and cuts between scenes is downright masterful and it makes playing through the story feel like you're acting in a movie.

This plot is loose and moves like molasses, but that speed gives the camera plenty of time to devour Refn's lush sets and incredible visual language.

Katniss tries to shake off the propaganda team documenting her every move so that she can go into the Capitol by herself to assassinate Snow, but Coin wants Katniss on camera, even if that means pretending like Katniss» rogue decisions were actually Coin's ideas all along.

Like so many of Malloy's «initiatives» once the cameras are turned off and the media walk away, the Governor and his top political appointees move on to the next media opportunity without following through with the actual task of governing.

With 755 horsepower the 2019 Chevrolet Corvette zr1 is the most powerful Corvette ever it's also the most technologically advanced behind me are the rolling s's at Road Atlanta and we're here to see if we can reach to the supercar levels of performance afforded by this thing's massive power big tires and the tall wing on the back after that we'll take to the streets to see if a car this powerful can behave itself in public this is a monster of a car I've had some brief track opportunities moving this morning to get used to the pace of this machine which is phenomenal we're gonna warm up as we get out to the road Atlanta and sort of build up to the pace that this car can operate at now initially when you hop in this car you have this shrine to the engine right above you you see the line of the hood it kind of dominates the center of the view you can see over it it doesn't affect visibility but it's immediately obvious and that kind of speaks to what makes this car special it's a monster of an engine listen to that [Music] that is tremendous tremendous acceleration and incredible power but what I finding so far my brief time here at the Atlanta is that everything else in the car is rut has risen to match hurt me while I lay into it on the back straight look you know 150 mile - an - hour indicated we're going to ease up a little bit on it because I need to focus on talking rather than driving but like I was saying the attributes of the rest of the car the steering the braking capability the grip every system of this car is riding to the same level of the power and I think that's what makes it really impressive initially this is undoubtedly a mega mega fast car but it's one that doesn't terrify you with its performance potential there's a level of electronic sophistication that is unparalleled at this price point but it's hard not to get you know totally slipped away by the power of this engine so that's why I keep coming back to it this car has an electronically controlled limited slip differential it has shocks filled with magnetically responsive fluid that can react faster to inputs and everything this car has a super sophisticated stability control system that teaches you how to drive it quick but also makes you go faster we haven't even gotten into exploring it yet because the limits of this car are so high that frankly it takes a while to grow into it but [Music] I think what's impressive about this car is despite how fast it is it is approachable you can buy this car to track dates with it and grow with it as a driver and as an owner I think that's a really special [Music] because you will never be more talented than this car is fast ever unless you are a racing driver casually grazing under 50 miles an hour on this straight okay I'm just going to enjoy driving this now [Music][Applause][Music] this particular Corvette zr1 comes with the cars track performance package a lot of those changes happen underneath the sheet metal but one of the big differences that is immediately obvious is this giant carbon fiber wing now the way this thing is mounted is actually into the structure of the vehicle and it makes you know loading the rear hatch a bit more difficult but we're assuming that's okay if you're looking for the track performance this thing delivers also giving you that performance are these Michelin Pilot Sport cup tires which are basically track oriented tires that you can drive on the street but as we wake our way to the front of the thing what really matters is what's under the hood that's right there's actually a hole in the hood of this thing and that's because this engine is so tall it's tall because it has a larger supercharger and a bunch of added cooling on it to help it you know keep at the right temperature the supercharger is way larger than the one on the zo six and it has a more cooling capacity and the downside is it's taller so it pops literally through the hood the cool thing is from the top you can actually see this shake when you're looking at it from you know a camera from the top of the vehicle this all makes for 755 horsepower making this the most powerful Corvette ever now what's important about that is this not just the power but likewise everything in the car has to be built to accommodate and be able to drive to the level of speed this thing can develop that's why you had the massive cooling so I had the aerodynamics and that's why I had the electronic sophistication inside [Applause] we had a lot of time to take this car on the track yesterday and I've had the night to think about things Matt today two crews on the road and see how this extreme performance machine deals with the sort of more civil minded stuff of street driving the track impressions remain this thing is unquestionably one of the most capable cars you can get from a dealer these days a lot of that's besides the point now because we're on the street we have speed limits they have the ever - present threat of law enforcement around every corner so the question is what does this car feel like in public when you slow this car down it feels like a more powerful Corvette you don't get much tram lining from these big wheels though we as the front end doesn't want to follow grooves in the pavement it is louder it is a little firmer but it's certainly livable on a day to day basis that's surprising for a vehicle of this capability normally these track oriented cars are so hardcore that you wouldn't want to drive them to the racetrack but let's face it you spend more time driving to the track than you do on the track and the fact that this thing works well in both disciplines is really impressive I can also dial everything back and cruise and not feel like I'm getting punished for driving a hardcore track machine that's a that's a really nice accomplishment that's something that you won't find in cars that are this fast and costs maybe double this much the engine in this car dominates the entire experience you can't miss the engine and the whole friend this car is sort of a shrine to it the way it pops out of the hood the way it's covered with coolers around the sides it is the experience of this car and that does make driving this thing special and also the fact that it doesn't look half bad either in fact I think it has some of the coolest looking wheels currently available on a new car this car as we mentioned this car has the track package the track package on this car gives you what they call competition bucket seats which are a little wide for my tastes but I'm you know not the widest person in the world this automatic transmission works well I mean there's so much torque again out of this engine that it can be very smooth and almost imperceptible its clunky on occasion I think I'd might opt for the manual although Chevy tells me about 80 % of its customers will go for the automatic I don't think they're gonna be disappointed and that's gonna be the faster transmission drag strip on the street - and on the racetrack man it was a little bit more satisfying to my taste though we've talked about the exhaust I have it set in the track setting let's quiet it down a little bit so you can hear the difference now I've set that separately from everything else so let's put it stealth what happened to the engine sound that's pretty that's pretty amazing man stealth is really stealth and then go back to track Wow actually a really big difference that's that's pretty great the Corvette has always been a strong value proposition and nowhere is that more evident than this zr1 giving you a nearly unbeatable track performance per dollar now the nice thing is on the road this doesn't feel like a ragged edge track machine either you could genuinely drive it every day the compromises are few and that's what makes this car so special if you like what you see keep it tuned right here and be sure to visit Edmunds.com [Music]