Sentences with phrase «of shot composition»

Saturated with Lance Acord's sumptuous visuals, Buffalo 66 is a hallucinatory triumph of shot composition and editing.

Not exact matches

What makes this book so radical — and thought - provoking — is its ingenious composition: fifty dart - like essays that shoot to the heart of an equal number of components of public health in the current age.

The U.S. team began playing with the photo compositions — putting some of the food slightly out of place, including a hand in the shot, and so on.

BOFA already provided you with accurate information about the composition of the Vitamin K shot.

After inspiring millions of people worldwide with its successful landing in a crater on the Red Planet on Aug. 5, 2012, PDT (Aug. 6, 2012, EDT), Curiosity has provided more than 190 gigabits of data; returned more than 36,700 full images and 35,000 thumbnail images; fired more than 75,000 laser shots to investigate the composition of targets; collected and analyzed sample material from two rocks; and driven more than one mile (1.6 kilometers).

«Our findings point to two potential impacts from additional research — analyzing the diversity and composition of the microbiome to predict response to immunotherapy and modulating the gut microbiome to enhance treatment,» said Wargo, senior researcher on the project and co-leader of the Melanoma Moon Shot ™, part of MD Anderson's Moon Shots Program ™ to reduce cancer deaths by accelerating development of therapies from scientific discoveries.

The scanning force microscope (SFM) scans the surface with an ultra-fine tip, while the time - of - flight secondary ion mass spectrometer (ToF - SIMS) determines the material composition of the first surface mono - layer by «shooting» metallic ions at it.

The changes in average cranial capacity from Morton's seed - based measurements to shot - based measurements can not be reconstructed with any certainty, incorporate erroneous seed measurements made by Morton's assistant, yielded a broad range of changes (− 10 to +12 in3) hidden by Gould's mean, and are confounded by the shifts in sample composition (circa 50 %) between the two rounds of measurement.

I found Jamie on instagram as her images jumped out at me, not because she does every yoga pose naked but because of the beauty of every shot; the composition, lighting all come together to celebrate the beauty of the human body through yoga.

She's a super sweet girl who offers free photography tips about lighting, composition, best times of day to shoot and more.

I absolutely love creating imagery for my blog, and one of my favorite compositions is shooting Flatlay Photography.

love the composition of these shots, especially the first one!

Visually it was quite striking â $ «Wes Anderson's use of colour and composition of shots was brilliantly done and added stylistically to the off - centre atmosphere and nature of the film.

The CinemaScope process was well used here, with panoramic shots of Manhattan accompanied by Newman's entire orchestra performing his composition Street Scene in prolog and epilog shots.

The compositions stress the location over the people, dwarfing them in wide shots of ornate rooms, or leaving them off - balance in tilted angles which necessitate constant re-oriention.

The visual style — the orange - and - blue color scheme, the elegant «Scope compositions, the graceful tracking shots, and the shrewd use of shallow focus — has been reproduced almost perfectly from John Carpenter's original, yet the wit and intelligence are gone.

Much as he downplays the human overseers of the park, Côté never obscures his own hand in the proceedings: The disorienting reverse shot of the drawing woman through the stuffed beast's antlers is the first of countless droll (and uncomfortable) compositions that forces us to wonder if documentarians and spectators are really so far from taxidermists after all.

Extras are, per Anderson's M.O., exasperatingly abstract: The cover copy refers to the bonus features as «special trailers,» but one is just a deleted scene of Shasta and Doc watching the waves lap against the shore at dusk (their lips are moving, but a dreamy Greenwood composition mutes everything they say), while the fourth and final, «Everything in this Dream,» is an artful 6 - minute montage of cutting - room scraps, including a few shots of Doc and Sauncho watching a schooner leave port that could be construed as the ending from Inherent Vice the novel.

Quietly funny and unexpectedly frightening, Like Someone in Love is also one of the more forthright demonstrations of Kiarostami's Bressonian mastery of sound as a tangible property: the opening shot alone is a masterclass in sound editing, and not too shabby a lesson in composition, either.

Director Dale Berry doesn't show much concern for things like blocking and shot composition, with characters occasionally standing in front of the camera and blocking the audience's view.

The Spierigs shoot the bulk of their picture in scrinched - up telephoto compositions, piling the actors on top of each other.

They soldier forward, pointing out nice Antal shot compositions, seamless VFX work, and the like, but the result is a so - so helping of lightweight anecdotes and interesting moments of actorly banter interspersed with stretches of dead air.

Like many cinephiles, I was first drawn to Ozu by his serene compositions, the meditative «pillow shots» of train stations and empty rooms that served as scene transitions, and the exquisite way that his films explore the architecture of domestic and urban life.

A combination of low budget, crappy CGI and uninspired shot composition means that this film is not in the least bit flashy to look at.

In Parliament, he shoots from drastic angles, adding dramatic shafts of light to give his interior compositions added dimension.

Perhaps it's a question of shot selection, as Gray — who has a painterly, shadowy visual style, often reminiscent of the great American films of the 1970s — has stuck to a largely emotional logic in earlier films; his compositions are wide or tight to reflect how characters feel.

Shot with minimal adequacy, highlighted by a particularly inept composition that cuts off characters» swearing faces (a transparent means of making forthcoming TV edits feasible?)

But it's important to recognise the performances of the two leads in particular: Lawrence's besotted and committed nurturer and Bardem's benevolent and caring creator perfectly portray the themes that Aronofsky is going for here and his compositions and close - up shots of both actors allow them to subtly take command of their roles.

Guest poster Joel Gunz looks at the shot of Madeline standing under the Golden Gate Bridge in terms of composition and cinematography, as well as artistic antecedents and psychological readings.

Unfortunately Ebert's talk is too often punctuated by silences but is still worthwhile as he points out some interesting points regarding the film's history and the composition of its shots amongst others.

His luminous landscapes are reminiscent of Terrence Malick; his interior shots, often candle - lit, are compositions of light and shadow as elegant as oil paintings.

Fluk's compositions are at once chilly and sensual, with a European art cinema buff's attention to bodies, and there are lovely moments throughout: James and Jonah in a swimming hole, scanning the water's surface in search of fish; James and Sam's regret - soaked slow dance at a community center social; a tracking shot that trails Jessica through a grassy field as she looks back teasingly at the camera.

And when Siri shares in Fincher's delight at carefully mapping out his film's interior spaces, he accomplishes this not with elaborate, CG - enhanced dolly shots, but with the same crisp, angular, deep - space compositions he employs throughout the rest of the film.

In the case of Gun Fury, this includes shoot - out choreography, barroom composition, and the heightened depiction of forward motion, from galloping tracking shots to camera angles staring down a row of reigns as horses sprint headlong over the desert terrain.

Also, on the plus side the cinematography is done well, and D.O.P. Christopher Ross deserves a lot of credit for how good this film looks, with its bright colours, brilliant shot composition, and breath - taking use of the English Countryside in order to immerse us more in this small seaside town.

His highly intricate shot compositions (with the help of his longtime collaborator Emmanuel Lubezki) and infusion of muted but potent sexual, emotional and social observations through visuals have distinguished him greatly from the increasingly pedestrian eye of most American filmmakers.

From the opening scene, an almost monochromatic chiaroscuro composition with strong diagonal lines (it was shot in an actual snowstorm), it's clear that Arrow's 1.85:1, 1080p transfer, sourced from a 2K scan of the original camera negative, is on the money.

It's the kind of addled farce that lies at the heart of so much of Roth's fiction, and Perry's formal chops — he and cinematographer Sean Price Williams use 16 mm black - and - white film over cheap DV, and they favor piercing deep - focus shots over hazy, foregrounded compositions — visually approximate the careful construction of the author's language.

In overuse of an artsy effect that wore out its welcome a decade ago, our eyes are bombarded with great swimming balls of refracted sunlight; portions of some shots — and entire compositions in one or two others — are washed out by overexposure, and a couple shots are even out of focus (no, it wasn't the theatre's projector) to no purpose whatever.

Sammo Hung's choreography, with fight scenes shot as cartwheeling flurries of gold, blue, and crimson, is just one of the pleasures in a film that also includes shapeshifting heroines, talking stags, a toppling colossus, cheesy digital compositions, and wacky exchanges («What's a Phantom Bazaar?»

The presentation just aches of familiarity from the long shots and distancing composition.

The askew compositions, metaphors and visual motifs to Irvine Welsh's own novelistic off shoots, are never indulgent and playfully highlight the cock - eyed viewpoints of our Scottish antiheroes.

It's probably Mamet's finest film as a director, his widescreen composition is wonderful — there's this one shot where Emily Mortimer's head, in profile, sits in the center of the screen while she talks and it's exceptional.

The composition of some shots is breathtaking and, while it is cool being able to sit back in your own home to watch it, I can not help but feel that this would have been an incredible cinematic experience.

Darkness by Day, de Salvo's second feature, is beautiful, unfolding in long, contemplative wide shots that in their composition and subject remind a great deal of Victor Erice's The Spirit of the Beehive.

A couple of shots seem overly grainy, but most are quite wonderfully clean and solid, enabling you to really appreciate the top - notch compositions and cinematography.

Beautifully shot by Roger Deakins, it boasts languid compositions that echo the finest works of Terrence Malick and Sam Peckinpah.

Bad Teacher belongs to a dying breed of films shot in 1.85:1 and not placing that much importance on visual compositions.

What attracted critical minds like Jacques Rivette, Eric Rohmer, and others to Nicholas Ray and his oeuvre — bored stiff as they were by the risk - averse, respectable, and ultimately neutered «cinema of quality» — was the stamp of the personal and the element of danger they discerned in his films, whether that meant the improvisatory handling of actors with a touch deft enough to coax remarkable performances out of even non-professionals; the «superior clumsiness,» cited by Rivette in «Notes on a Revolution,» resulting in «a discontinuous, abrupt technique that refuses the conventions of classical editing and continuity»; or the purely visual flourishes Ray relished — ranging from the sweeping, vertiginous helicopter - mounted shots in They Live By Night to disorienting, subjective POV compositions like the «rolling camera» during a car crash halfway through On Dangerous Ground, its very title indicating the source of Ray's critical appeal.

His shot composition is also in service of his broader themes: the desert of Las Vegas bears a deliberate resemblance to the desert where drones fly overhead, except Las Vegas has pockets of water and grass in its backyards.