Sentences with phrase «much moving cameras»

Even the action scenes are directed with so much moving cameras that it's difficult to tell what's going on.

Not exact matches

Young Moroccan scribe Abdellah Taia moves into the director's seat with the screen version of his autobiographical novel» Salvation Army,» losing much of the texture in translation from pen to camera.

Director Sylvain White, whose last film was the equally unnecessary I'll Always Know What You Did Last Summer, manages to take the joy out of a dance movie by jerking the camera around and speeding up the dance moves so much.

This is the same when the fight is focused on Okoye or her army, the Dora Milaje; the camera moves not so much to show them fight, as moves with them in the fight.

The trailers don't suggest much in the way of a fresh take on the genre, though Neveldine's live - wire, kinetic camera style might just be the moving's saving grace — at least when it comes time for the de rigueur freaky demonic possession scenes.

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.

«There was so much crazy moving camera, which added to the intensity of the frustration, the angst, that was building,» she says of Adam McKay's shaggy, Oscar - nominated comedy.

During any kind of close up, the camera is moving so much it's almost impossible to make out what exactly is going on.

The fact is, there isn't much life on the page, so Zemeckis tries to concoct some with swirling, impossible computer - generated camera moves through windows and sand storms and from the skies above, all as Alan Silvestri's intrusive and sentimental score tries to stir up some feeling.

In addition to the imaginative fantasy sequences (which impressively entail so much time and effort for so brief a joke), the exchange of dialogue often moves at a rapid clip and the show is slickly - edited with a mix of long takes on a moving camera and quick cuts.

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.

(Update) Having now viewed the film in both 24 fps and 48 fps I can say that the minor issue with cgi not blending with the its environment fully is virtually non existent in the 24 fps edit and despite the motion blur when the camera moves at pace it is an much more satisfying and enjoyable experience.

Visually, The Florida Project owes much of its approach to cinematography to Wes Anderson — the colors recall The Grand Budapest Hotel, and the numerous long shots where the camera holds still, placing the children as small specks moving across a static background from a frontal viewpoint, are very Anderson-esque.

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.

Wright keeps things moving with whiz - bang in - camera tricks, action choreographed by Jackie Chan's longtime stunt coordinator, and pop music from [the main characters»] salad days... I think you can deduce from the foregoing that I pretty much unreservedly loved «The World's End,» whose compact dramatic structure and steady flow of good jokes puts most mainstream American comedies... to shame.»

Adler and his cinematographer Gregory Middleton chose to film much of the sequences using full - body shots, the camera moving with the dancers, giving us a chance to see the dancers in action, moving through space.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

Potter's smoothly roaming camera carries us through the gathering much as an unseen guest might move through the increasingly awkward situation.

«The Visual Effects of Zodiac» (15:15) isn't the most obvious supplemental inclusion, but while the film is far from spectacle fantasy, this piece reveals just how much effects work was required, from blue screen crime scenes and precise camera moves to fabricating a vintage waterfront and using CGI on gruesome death sequences.

Cagney's a great actor, of course, but both he and Day seemed totally lacking in energy, as did the direction by Charles Vidor — I swear there were only two camera setups through the first 30 + minutes of he film: Day on stage in a flat composition in front of musicians and a solid color backdrop with neither camera nor actors moving much at all and Day and Cagney in her dressing room arguing about something.

It works perfectly and in conjunction with the back - up camera makes moving around in tight spaces much easier.

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]

Nissan Certified... One Owner, All Wheel Drive, Factory Navigation, Panoramic Moonroof, Leather Interior, Blind Spot Warning, Forward Collision Warning, Moving Object Detection, Bluetooth Hands Free Phone System, Back - up Camera, 18 Alloy Wheels, Luggage Rack, Heated Seats, Steering Wheel Controls, 2 keys, and so much more... Fully Serviced thru our shop, this Rogue has NO Open Recalls, and a Clean Vehicle History - with NO Reported Accidents... Stop in today and experience the benefits of buying Nissan Certified Preowned from Kelly.Nissan Certified Pre-Owned Details: * Includes Car Rental and Trip Interruption Reimbursement * Warranty Deductible: $ 50 * Roadside Assistance * Transferable Warranty (between private parties) * Powertrain Limited Warranty: 84 Month / 100, 000 Mile (whichever comes first) from original in - service date * Vehicle History * 167 Point InspectionOur Risk Free story includes: 1) 3 day or 150 mile money back guarantee.

Nissan Certified... One Owner, All Wheel Drive, Factory Navigation, Panoramic Moonroof, Leather Interior, Blind Spot Warning, Forward Emergency Braking, Moving Object Detection, LED Headlights, Bluetooth Hands Free Phone System, Back - up Camera, 18 Alloy Wheels, Luggage Rack, Heated Seats, Steering Wheel Controls, 4 New Tires, New Brakes, 2 keys, and so much more... Fully Serviced thru our shop, this Rogue has NO Open Recalls, and a Clean Vehicle History - with NO Reported Accidents... Stop in today and experience the benefits of buying Nissan Certified Preowned from Kelly.Nissan Certified Pre-Owned Details: * Roadside Assistance * Powertrain Limited Warranty: 84 Month / 100, 000 Mile (whichever comes first) from original in - service date * Transferable Warranty (between private parties) * Includes Car Rental and Trip Interruption Reimbursement * Vehicle History * Warranty Deductible: $ 50 * 167 Point InspectionOur Risk Free story includes: 1) 3 day or 150 mile money back guarantee.

Moving over to the front of the iPad and things does not look any much more brighter as its only a VGA camera that adorns the front of the iPad, which is where the iPad shares a similarity with the latest iPhone 4.

Through recent projects like Kitty Cams at the University of Georgia, in which cameras are attached to the collars of indoor - outdoor pet cats to track their activities, not only have cats been filmed preying on cardinals, frogs and field mice, they have also been shown lapping up antifreeze and sewer sludge, dodging under moving cars and sparring violently with much bigger dogs.

The camera recognises the Move with ease, letting you hold it pretty much any way you want as long as it can see the glowing light.

Much worse is the trial and error that results from your inability to move the camera around the level.

From players using their hands (and bodies) to interact with cameras in EyeToy games or using the much - maligned (but, as it now turns out, essential VR peripheral) PlayStation Move to interact with augmented reality characters and game objects in EyePet and Wonderbook.

I can understand not wanting to «confuse» the PS4 - buying market with too much mention of Move, camera, or 3D.

When several of them combine — like when I'm climbing a colossus, miss a jump even though I felt like I hit the buttons right, then the camera pans away so I can't see my character, then the colossus shakes and I hold R1 for a good while, then my grip gives up and I fall to the ground unconscious for 6 seconds, and just as I get up the horse runs in my way as I try to move and the colossus smacks me with lightning bullets and I lay unconscious for another 6 seconds, and then, finally, I get to start over climbing it again, I wonder why people love this game so much.

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 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.

Matt's artwork for the game is incredible and finished to a much higher fidelity than is strictly necessary for a top - down RTS game but Photo Mode allows you to pause the game, move the camera into a much less restricted position then snap away.

Other than very lightly explaining how to build and move the camera, you're pretty much on your own.

Ninja Theory gave DMC: Devil May Cry a free moving camera and a much tighter and responsive control scheme.

I don't really know much about video art, but Adrian told me about some of the techniques artists use - the importance of the speed and direction in which a camera moves; the way background colour can influence the way you perceive a video, in the same way as a painting or photograph.

On top of that, it is much easier to use a smartphone like a camera instead of holding up and moving around a laptop.

Everything you need to know about Samsung's next flagship has already been doing the rounds: the Galaxy S9 and S9 + will share much of their design thinking with their predecessors, while moving the fingerprint sensor below the camera on the rear panel (seen above).

The Rift's single - tracking camera doesn't give you as much space to move around in as the «room - scale» HTC Vive or a two - camera Oculus Touch setup, but it supports a few steps in any direction; I measured a functional square of space around six and a half feet wide and four and a half deep.

The S9's scanner has been moved to just below the camera, which makes it much easier to reach, especially on the larger S9 Plus.

For night sky photography, you're balancing a couple of things: you want to let as much light into your camera without image quality suffering because of the stars moving or noise.

«It's a smart move, considering how much people use the cameras on their phones these days,» he told TechNewsWorld.

The dual - camera approach has instead been moved to the V20's backside, which includes both a «standard angle» 16MP sensor with f / 1.8 aperture and optical image stabilization, plus a much wider 8MP camera with an aperture of f / 2.8.

The rear camera sensor is a respectable 20MP, while the much - despised UltraPixel camera has been moved from the rear to the front.

The S9 Plus doesn't look much different, because it isn't — although the fingerprint sensor has been moved so the camera strip on the back is now vertical rather than horizontal like the Note.

Since the LG G5 the company has been using a dual - camera system that uses one standard sensor backed up by a wide - angle option which can capture much more of the scene without moving the phone.

In brighter light, the difference between the front (left) and rear (right) cameras is even more pronounced: The fur fade looks much more natural, though the back camera's superior sensor gets the better focus on a moving cat's face.

The camera found on that niche device appears to be similar to the one featured on the rear plate of the Galaxy S9; it uses a 1.4 μm sensor mounted behind a lens with much more moving parts than what you can find inside any fixed - aperture glass, i.e. the kind of lenses that are usually used in smartphones.