Sentences with phrase «of a green screen with»

Not exact matches

Let's get one thing out of the way: The latest version of «The Jungle Book,» shot mainly in a warehouse in Los Angeles with green screen, is visually stunning.

And in the case of the desert scenes, Plummer shot the close ups with the help of a green screen.

It then cuts to a closeup shot of Plummer as Getty in the white suit with a background make it look like he's in the desert, thanks to green screen.

When you chat, the app applies a virtual green screen of sorts (the thing the weather man stands in front of) to the background behind Bob and replaces it with your desktop.

If you have a cell phone which shows those bubble texts, you know that your texts are on the right in the green bubbles, and the texts you receive are on the left with the grey bubbles and the name of the person sending the text is at the top of the screen.

Our sprawling campus includes a STEAM Innovation Lab, a «Design Lab» complete with maker space, green screen and 3 - D printer, a state of the art Athletic Center and multiple play and exploratory areas.

White dots stream in from the right of the screen, switch to red, and merge with green boxes, which swiftly change colour to yellow and then red, while moving through a bewildering maze.

Essentially, in the first two rounds of shocks my brain tied «less pain» with «green screen.»

White dots stream in from the right of the screen, switch to red, and merge with green boxes, which swiftly change colour to yellow and -LSB-...]

At each tent, they can get a stamp recording their touchdown and exploration, and keiki who complete their passports will receive a prize from Imiloa Astronomy Center as well as the opportunity to take a picture of yourself on your favorite planets with Imiloa's green screen camera.

in a green - and - blue Self - Portrait dress, with mesh detailing and a draped midi skirt with a knee - high split, plus black Christian Louboutin pumps and a bright - pink lip, at a special screening of Aloha in West Hollywood, California.

This unisex top is screen - printed with kid - friendly original graphics and crafted of a cozy blend of eco-friendly Green Cotton and modacrylic that meets the federal requirements for sleepwear without chemical treatment.

As pretty on the summit as it is at a roadside diner, this olive green, ModCloth - exclusive top touts a gathered bust atop which a white screen print dances - and, with the playlist you prepped, there will be plenty of that!

It is applied via screen printing, which means that each color, be it green, yellow or lilac, is transferred onto the ground with the help of a special screen, one by one, until all the inks have been used.

With a a no - itch printed label, this unisex top is screen - printed with kid - friendly original graphics and crafted of a cozy blend of eco-friendly Green Cotton and modacrylic that meets the federal requirements for sleepwear without chemical treatmWith a a no - itch printed label, this unisex top is screen - printed with kid - friendly original graphics and crafted of a cozy blend of eco-friendly Green Cotton and modacrylic that meets the federal requirements for sleepwear without chemical treatmwith kid - friendly original graphics and crafted of a cozy blend of eco-friendly Green Cotton and modacrylic that meets the federal requirements for sleepwear without chemical treatment.

also in Dior Haute Couture as a face of the brand, selecting a green and off - white striped sequin mini with waist cutouts, plus Jimmy Choo heels, Kimberly McDonald earrings and an Ana Khouri bracelet at the N.Y.C. screening of Serena.

Of course once we finished, we had to goof around with Hilton's green screen.

Those include a formidable physique joined to a relaxed, self - referential sense of humor («that's a big arm, don't fight it,» he advises), a gift for green - screen sincerity and the ability to say lines like «something's not right here» and «you're making a big mistake» with a straight face.

Rampage struggles to maintain the illusion that The Rock isn't interacting with a CGI character brought to life through motion capture and green screen, but it does succeed in making George a fun reflection of Davis» personality (read: rude and crude, but with a heart of gold).

There's some very candid, fascinating footage here capturing the process of making the film (in, for a surprise revelation, not a real Parisian flat but a studio - built apartment replica surrounded by green screens, not at all dissimilar to David Cronenberg's use of similar magic for A Dangerous Method, not that you can tell in either film in its finished form, where the technology is seamless and unobtrusive), with Haneke working with the actors in a rigorous, nitty - gritty way that lets us see what infinitesimal precision he's looking for in performance, in movement, in blocking, and in composition.

With many noticeable green screen effects and animals that looked a little less than artificial, the visuals clashed with the plot of the film forWith many noticeable green screen effects and animals that looked a little less than artificial, the visuals clashed with the plot of the film forwith the plot of the film for me.

The real - life Petit didn't have the safety net of a soundstage and green screen to complete his trick, but Zemeckis uses these tools to great effect, redefining the phrase «end on a high note» with a sequence that will leave you breathless and wanting more.

Two later sequences ensure that tears will be shed at every screening of «Stronger»: Bauman's reunion with the man who saved his life (Carlos Sanz, extremely moving), which Green finesses gracefully, without histrionics, and the scene of Bauman throwing out the first pitch at Fenway.

With the help of a green screen and quick costume changes, the duo reenacted memorable scenes from such movies as «Conan the Barbarian,» «The Terminator,» «Commando,» «Predator,» «The Running Man,» «Kindergarten Cop» and, yes, «Batman & Robin.»

The 23 - year - old leads the teen action franchise and also had fans in tears last year with the big - screen adaptation of John Green's popular film The Fault in Our Stars.

If anything, it's a more gorgeous experiment in green screen digital sets and black and white videography, complete with selective splashes of color — a green - eyed femme fatale's lips here, a bloodied thug's ugly mug there.

In a recent interview with Rolling Stone, which covered everything from working with a green screen to putting more black people in science fiction, Tessa Thompson talked about the development of her character Valkyrie in Thor: Ragnarok — and one key moment that got left on the cutting room floor.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

Though Rinsch deserves some credit for convincing a major studio to green light a Keanu Reeves vehicle with Japanese screen veteran Hiroyuki Sanada, and not Reeves, playing the main lead, the actor's presence ultimately proves to be more of a distraction than an advantage.

With his 2011 experimental short Line Describing Your Mom (its title a humorous Anthony McCall reference), Michael Robinson — whose work we've shared before — assembles a pulsating stream of images and music from disparate elements that is driven by the constant visual rhythm of a flashing green screen and an entrancing voice - over of a woman detailing the nightmare that she has just woken up from.

While Refn saturates the screen with pure yellows, greens, and reds, (as he does so well in most of his films due to his color blindness), Peter Peter Schneidermann's (formerly of Danish punk band Sods) minimalist soundtrack pierces when times get tough in the film.

After sharing a first look with EW this past October, Sony Screen Gems» has decided to hold Seth Grahame - Green's Pride and Prejudice and Zombies to a Valentine's Day weekend release of February 19, 2016.

With hundreds of green screens, machinery, and stunt doubles, it is hard to imagine what a typical day is like on set of a Marvel movie.

Unfortunately, it's also at times these layers looked a bit fake as it sort felt obvious the cast was filming in front of a green screen, but to be honest, a lot of the action sequences would have been too dangerous to perform in real life or to realistically recreate solely with practical effects.

Ten deleted scenes (19:02) are presented in a mix of incomplete states, with primitive visual effects (or drawn stand - ins) and unreplaced green screen and performance capture actors.

«There were a number of shots close to camera so if they were shooting something with the body double we would green screen shoot the side of the ice rink and get Margot to replicate the facial expressions that she might make if she were skating that piece,» says Tierney.

Indie director David Gordon Green, an out of left field choice if ever there was one, successfully married hilarious pot culture humour with splendidly ridiculous action, and gave us a great pairing in Seth Rogen (admittedly doing his usual Seth Rogen thing, basically his cop from Superbad in a suit) and James Franco, the latter of which had me laughing hard pretty much anytime he was on - screen.

Who will win: «The Jungle Book» will win and I can see why with the Disney clout and the volume of its entirely green - screen work.

Presented in letterboxed 4:3 with time codes over them, they play in random order and include such unfinished touches as a shot of green screen and a crowd dancing to no music.

The Pitch: Stewart O'Nan's acclaimed novel comes to the big screen in the form of David Gordon Green's adaptation of «Snow Angels,» in which a pair of stories — one about a couple confronting tragedy, the other about a young man struggling with deep - seated personal problems — intertwine.

Three, the latest from the unparalleled Johnnie To, is a twisting, crisscrossing suspense flick set over a few hours in a hospital — strikingly conceived in blues and greens, with doorways and privacy screens that limit point - of - view and build tension — where a cop, a wounded criminal, and a surgeon are forced to match wits and wills.

It also shows how the effects landscape has changed as so many of the backgrounds were done with green screen that could be looked at live as the film was being shot.

Xibalba, with his ethereal green skin, tiny skull pupils and shoulder - mounted candles flickering green flame, and La Muerta, with her giant, screen - sized sombrero and flowing red gown, are some of the best designs anyone can find in modern animation.

Snow Angels (Warner Independent, March 21) Starring: Sam Rockwell, Kate Beckinsale, Michael Angarano, Griffin Dunne, Amy Sedaris, Olivia Thirlby Director: David Gordon Green Rating: R The Pitch: Stewart O'Nan's acclaimed novel comes to the big screen in the form of David Gordon Green's adaptation of «Snow Angels,» in which a pair of stories — one about a couple confronting tragedy, the other about a young man struggling with deep - seated personal problems — intertwine.

Each episode opens with a must - see bit of web randomness and closes with a glimpse of Tosh on his green stage screen (which must not be very pleasant for his guests).

We saw a brief teaser last month [watch it here], and now we have the first promotional image from season two of Showtime's Penny Dreadful, featuring returning stars Eva Green and Josh Hartnett... Penny Dreadful will be back on the screen in 2015, with Green and Hartnett joined in the cast by Reeve Carney, Timothy -LSB-...]

The visuals are surprisingly poor (with a lot of sub-par green screen).

Combining bad green screen, worse compositing and some CGI monkeys for good measure, this is the least believable moment in a movie that ends with aliens using the power of raw knowledge to disintegrate a Russian Cate Blanchett.

As an entry in the Victorian - period ghost story canon, Crimson Peak strives for the time - honored and sumptuous sadism of Mario Bava — especially with all the sea green and blood red hues that occupy the picture — del Toro does visual justice to the cobwebbed candelabras and blood - flecked vaults and terraces emblazoned on the screen, but the overall effect is meager, he mostly just taps a thinning vein of gothic clichés.

The set for this one scene alone includes half a Quinjet, a massive platform with about 20 - foot - high fencing on one side, and about 180 degrees of green screen that stands in for Wakanda.