Sentences with phrase «of cgi»

At the same time, this is not the kind of video game adaptation you often see, with a lot of CGI and effects.

The 10 second teaser comes ahead of the CGI trailer that will be revealed on Friday at the Golden Joystick awards 2014... Read more

Our biggest gripe with Microsoft's showing was the over-reliance of CGI as opposed to game footage, and Sony's showing was much stronger in this regard.

You'll have to sit through plenty of CGI before you get there, mind.

Spielberg leans into the bleeding edge of CGI visuals with Ready Player One, creating an almost hypnotic treat for the senses and one that's steeped, not just in pop culture, but in games design and cinematography too.

It's been a while since the original version of Advent Children came to Europe in DVD format — sadly coming straight to DVD rather than hitting cinemas, it was arguably one of the best pieces of CGI animation I'd ever seen.

I am employee of CGI company and have been accumulating the cgi shares for the last years from one of the company plan.

That purchase is part of CGI's plan to buy back up to 20.6 million class A shares, or 8 % of the total outstanding, by February 6, 2019.

The main advantage of the CGI engine is in the stratified operating mode from which it takes its name.

In order to meet both requirements, the piezo - injector of the CGI engine extends into the centre of the combustion chamber.

Treatment group teachers are engaged in two years (8 days per year) of CGI professional development workshops, provided by the Teachers Development Group, focused on the mathematical domains of number, operations, and algebraic thinking.

But such a description hardly accounts for the Stephen Chow - worthy moments of CGI slapstick, the body horror played for insane laughs, or the way this very strange movie frequently flirts with going indie - movie maudlin on our asses, before another loud blare of escaping gas snaps us back to crazy town.

He does more to impress than second - billed Stevens, who at times you wish had less of a CGI and more of a makeup and prosthetics presence, no matter how challenging and time - consuming the latter would have been.

Where the first film got bogged down in a rambling mess of CGI, this sequel establishes that things are at stake, and although some of the backstory feels contrived, it is done well enough that the quest feels meaningful, and the finale can muster up some suspense.

Not bad for a movie that also has a shot of a CGI baby penis in it.

Another entry in the 3D bonanza, Captain America employs the technology to dazzling effect and helps to hide the distractions of CGI — though the weird sight of pre-Cap Chris Evans» normal head on a frail CG body is a bit unsettling.

For one, there is a lot of CGI used in The Greatest Showman.

But I was pretty disappointed with not much happening and the obscene amount of CGI that was used.

For the Kenyan - raised Nyong» o, it's a chance to escape the veil of CGI effects in Disney's «Jungle Book» and Star Wars franchise and play a high - profile part in a film that celebrates Africa.

The resulting film establishes potentially anxious scenarios and then explodes them, compulsively returning to gruesome money shots of the alien at work, created through a mix of CGI and makeup.

This movie marks the evolution of the stock action movie from the realistic style of actual action stars like Jackie Chan or Jean Claude Van Damme and into the domain of CGI blockbusters with trained actors at the helm.

The blockbuster was made during the dawn of CGI, but director Roland Emmerich did not incorporate any digital trickery when filming the sequence.

As such, there isn't a great deal to say about the transfer, as the digital presentation merely conveys the colors and look of CGI animation that's not grade - A quality.

«Creating the Action: VFX and Design» (7:03) illustrates and explains how layers of CGI were employed on sequences

«Digital Production» (10 minutes) * discusses the use of CGI in the film and how it needed to blend with the animation convincingly.

Since the abilities of CGI effects have skyrocketed, Hollywood has turned its attention to fantasy and comic book adaptations; because really, they can do anything they want with the real world.

This section also contains «Digital Extras» (2 minutes) which has 3 - D turnarounds for many of the CGI extras.

Personal Shopper (Olivier Assayas, 2016), which reached America in early 2017; one of Kristen Stewart's strongest performances, and an audacious mix of Dardenne Brothers style realism — as Stewart rushes from one assignment to another for her narcissistic, demanding boss — and an intelligent, restrained use of CGI for the supernatural part of the film, to create a really one - of - a-kind genre mashup.

While most of those movies relied on high - octane effects and a multitude of characters led by one or two big name stars, San Andreas amps up the levels of CGI action, though chooses to focus most of its attention on just the one troubled family, led by man - mountain Dwayne «The Rock» Johnson in perhaps his biggest, and indeed most important film role to date.

Fans of the medium that stretched nearly seventy years to the triumphant Snow White and the Seven Dwarfs rallied around Home on the Range, believing that a glowing reception was the only way for Disney, and by extension the world, to reconsider retiring traditional methods in favor of CGI.

Shooting Once Upon a Time in Mexico with HiDef instead of celluloid cameras apparently allowed for more spontaneous implementations of CGI — Rodriguez claims that he solicited some 330 unallotted F / X shots (many of the niftiest of which Rodriguez deconstructs in the vein of football play - by - plays) and still came in under budget, though I'm not convinced that the sloppiness encouraged by the flexibility of DV (the phrase «we'll fix it in post» is a veritable mantra on HiDef productions) isn't largely responsible for the inflated number.

Extra Special: With a cartoon enthusiasm that's positive animated in his Disney bloodline, Debney has scored no end of CGI toons from «The Ant Bully» to «Chicken Little» and «Spongebob Squarepants.»

This is a melee of CGI violence with clanging metal and flying debris.

If the main themes of the film find no footing, the movie becomes little more than a showcase for effects and imagery, which Johnston lays on thick, but it's not anything special in this era of CGI extravaganzas.

Legendary special effects and makeup maestro Rick Baker, who previously lent his talents to other wolf man stories like An American Werewolf in London and Michael Jackson's Thriller video, returns to familiar territory, this time with plenty of CGI at his disposal.

It is marred by some abysmal dialogue and the overuse of CGI.

So far, so familiar, and though the film's opening gets bogged down in exposition and the clash of CGI machines, director Alan Taylor has fun letting the action of his film overlap with the look and action of James Cameron's 1984 original, and diverge from it.

I blame this on all of the CGI work done on the character.

Whilst that I can acknowledge that it did take the film in a slightly different direction, and tried to do something a little different than the original (for example letting Murphy retain his memory whereas in the original Murphy was wiped or delving more into the family life of Murphy both as a human and as RoboCop), but for me it missed out on having the main villain, it cashed in on using the original them tune (which to be honest I did kinda like), the shoe - horning in of some of the original one liners that really felt out of place, there was tonnes of CGI which unfortunately is to be expected these days and I felt it was considerably toned down to appeal more to the younger audience, losing the over gratuitous violence and blood that the original had which in my opinion gave it some of the charm that it still has today.

Maintaining a tight focus throughout, never leaving a couple of relatively small slices of San Francisco real estate, Reeves also displays a great knack for both the subtleties and awe - inspiring moments of CGI - heavy direction.

Natalie would be there and suddenly the wonder of CGI sort of shadow would appear in the scene.

She's not just a moviemaker, then, but a guru of the theory and practice of CGI itself, and this movie's mad geometries are a fabulous demonstration of the truly exalted possibilities of the dark digital arts.

It's also rather magical to watch the animals arrive, two by two (and by virtue of CGI) at the ark.

And when you have Nicolas Cage fighting against a cadre of CGI sharks, the jokes become mighty difficult to keep at bay, even though the point of the film is clearly to be as respectful as possible to the soldiers who lost their lives, as well as those who lived through this tragedy.

But here he also sports a touch of CGI makeup that surrounds his eyes with pits of crackling embers, making him look literally ashen - faced — not so much kohl - eyed as coal - eyed.

The Buzz: It's been awhile since Disney served up anything besides warm leftovers, but if the trailer's anything to go by, «Robinson» could herald a new era of CGI glory for the studio.

Pacific Rim Uprising's trailer does not show much apart from lots of CGI fights in the fashion of Transformers, but let us hope the film is more than that.

Nice to see some set work still going among these days of CGI - extremism and for those looking forward, HERCULES: THE THRACIAN WARS is directed by Brett Ratner and due for release in 2014.

Even when it's flawed, it looks good (minus some of that CGI that looks a little off).

Even by BAFTA's standards, I think the work in both «Milk» and «Frost / Nixon» is too subtle to win here, whole I'm not sure how wary the BAFTA branch will be of the CGI contributions to «Benjamin Button.»