Sentences with phrase «often have my camera»

Additionally, I often have my camera bag with me, and I really don't like extra weight.

Catherine often has a camera in hand capturing everyday events and is a self obsessed chocoholic!

Espinosa and cinematographer Seamus McGravey often have the camera speeding around the space station to mimic Calvin's movements.

So many phones these days often have a camera module that protrudes slightly, which I loathe.

Not exact matches

Those working off - camera, the bookers and producers, don't often get the recognition you deserve, but I want you to know that I have always appreciated the challenges you face and the skill with which you master them.

But film is slow, and I realized that not having a digital camera was keeping me from posting here as often as I wanted to.

If you watched any Rams game this year the camera would often pan to Mcvay crouching over his iPad prepping for the next offensive drive.

Often, when you get to the top you just have to pee and your camera is out of batteries and some asshole left a bunch of empty Cheetos bags on the ground.

These cooking programs are no longer cheaply made, instead the productions take large crews, multiple cameras (up to 72 in Hell's Kitchen), cross-country travel and often have large cash prizes.

I'd love some digital camera suggestions from other Rookie Moms as ours just died and that will not stand when there is an all too adorable five month old demanding to have his photo taken... often

I have often thought that the next time I get prenant, I'll call them and invite their cameras into my house when I go into labor, so they can put a «live» natural home birth on TV, with stipulations that they DO NOT use the words «dangerous», «needles» (my own benefit, I hate them!)

What was fascinating was how real they felt — these were people filmed in places where they live or work or hang out, often speaking to the camera as they would speak to a friend.

Wyatt has said they might give police better pictures of cars and drivers in the case of accidents than the city's regular network of surveillance cameras, often far from the crash and the windshield.

On camera, she was funny and game, a posture that wouldn't have been entirely predictable given her inclination toward earnestness, a characteristic often essential to the practice of policy but almost always anathema to the practice of political presentation.

That's probably because the dispensaries often have security guards and cameras keeping an eye out on the immediate area, Freisthler said.

Using a 1,600 - pound Cold War - era camera (originally used to film nuclear tests) retrofitted with digital sensors and special software, Samaras strove to capture the dazzling moment a lightning strike is born, hoping these high - resolution photographs would provide insights into how lightning forms and why lightning bolts often follow an erratic path.

Wintemute has pushed the bounds of research, going undercover into gun shows with a hidden camera to document how people often sidestep the law when purchasing weapons.

Instead the public appreciated the chance to share in the missions and had a go at processing the images, often outdoing the pros in complex tasks such as stitching together chaotic picture sequences taken by descent cameras.

We often see agility, dance and play in snow leopards in zoos but this is the first time such a photograph has captured wild snow leopards and we congratulate the team at the Mongolia Snow Leopard Conservation Foundation and the Snow Leopard Trust who are doing long term camera trapping snow leopard conservation in the mountains of Mongolia.

Admittedly I often have to use the weekend to take photos of my life, so sometimes the clothes featured weren't actually worn that day other than to capture them with a camera.

Ultimately I feel like the shoots are a good excuse for me to create better content here in the long run, and since we have beautiful camera equipment, it does seem a shame for me not to use it as often as I can.

Having camera problems sucks and it happens to me often.

It happens with me quite often, with both outfit and makeup look photos — I take the photos and check them on my camera screen and they looks great and after I have uploaded them to my laptop, the result just isn't what I was expecting

and I live a pretty active lifestyle, I mean I spend most of the day having my own dance party wherever I go and often documenting it on camera, so when it comes to my everyday outfits comfort, functionality and of course, style are key.

I don't treat myself to new bags often, and less is more when it comes to my accessories, so I was so thrilled that a Beau Bag got sent our way... it's a perfect carryall that holds my camera, iPad, wallet and more and I sleek shape means I've been carrying it everywhere and from day to night.

The love he has for the tale and his efforts to try and do it justice too often come off as overdone; rather than letting the characters tell the tale, he introduces a new character: the camera.

Working with a pricier, higher quality technical team, Nicolas Winding Refn calls in renouned cinematographer Larry Smith to assist him in delivering on nifty, stylish camera plays that often immerse as cleverly used, in spite of limitations to aesthetic value beyond stylish usage, kind of like Brian Eno's and J. Peter Schwalm's score, which isn't all that special by its own right either, but has a certain atmosphere to it that is very effective when used right.

He and longtime cinematographer Janusz Kaminski have brightened up their usual palette of pale blues and grays to give «The Post» welcome warmth, but they often swirl the camera into circles to cover up for otherwise static, speechifying scenes.

Too often, though, Jakubowicz falls back on his relentlessly pirouetting DV camera, attention - deficient editing and ear - splitting sound effects as a substitute for real tension, or a more piercing inquiry into the bubbling tension between South America's haves and its poverty - stricken have - nots.

The Post is a film that feels in constant motion, where the camera is often hurtling forward to catch up to the drama, which here takes the form of heated negotiations between Post publisher Katharine Graham and her editor Ben Bradlee around the ethics and efficacy of continuing to publish the Papers after the Times had raised the ire of the Nixon administration.

All too often, we define young performers by their ability to be «natural» or «themselves» in front of a camera; that quality certainly has its place, but it also suggests a certain artlessness or naïveté.

Occasionally wandering to the other side of the cameras, Vint has functioned as writer, producer and director, often under the auspices of another «good ole boy» actor - turned - producer, Max Baer.

Vikander has a wide range, although Cianfrance often pulls the camera away or silences the soundtrack to reduce access to her emotions.

Perhaps to compensate for its facile plot, the camera often lingers on close - up shots of the three leads as they each process their feelings, fresh trauma quietly unloading in their eyes as they serenely try to accept what has transpired.

In The Hateful Eight, the actor steals every scene he's in — and yes, even from Jackson, who often does his best work with Tarantino behind the camera — as an eager, would - be sheriff.

He often cuts away to close - up reaction shots, for example, when a more casual camera placement would have allowed the audience to notice whatever or whoever we needed to in our own time.

It creates a desire to skip over Ben's sections, something that's reinforced by how often we have to watch a character write something down to him that Haynes then shows to the camera and has him read aloud.

Australian director Craig Gillespie, who made the cricket - cum - baseball drama Million Dollar Arm in 2014, sets out his provocative stall from the start, adopting a faux - documentary style that allows principal characters such as Harding (Margot Robbie), her terrifyingly aggressive mother (Allison Janney) and her good - looking but idiotic and abusive future husband Jeff Gillooly (Sebastian Stan) to address the camera directly while an amusing set of captions tell us that what follows has been inspired by an often «wildly contradictory» set of interviews.

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.

He has to play Valli through the many decades the film covers, but often comes across as over acting with facial gestures too large for the intimate camera.

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).

Nichols's camera drinks in the wide open farmland of Virginia every chance it gets, while the scenes in D.C. are almost always confined to the Lovings» home, often to their kitchen, where Mildred makes the bold move of calling the ACLU lawyer Bernie Cohen (Nick Kroll) and having him pursue their case.

Reed never directed better, had better material or tilted the camera more often.

A documentary cameraperson, often working with a hand - held camera and natural light, has to have «people skills,» she said.

But director Kevin Reynolds, who co-wrote the screenplay with Paul Aiello, often adopts the restrictive impulses of those otherwise sturdy religious flicks of yesteryear, the ones which wouldn't even allow the camera to gaze upon the face of Jesus (or, rather, the extra cast as Him).

'») The film reminds the viewer of this by having the characters, often in the midst of a physical tussle, look at the camera and say so.

Supported by a director who often places his camera mere inches from her nose, Portman excels in a portrayal that no First Lady has ever been blessed to receive onscreen (nor any American President, come to think of it).

Though he was certainly an unconventional choice, having a director of Mendes» caliber behind the camera is something the Broccolis should strive for more often, because it's clear from the start that «Skyfall» is in a totally different class than past installments and Daniel Craig's best Bond adventure to date.

The scenes in Ginny's apartment, which she shares with her husband, Humpty (Jim Belushi), and, eventually, his estranged daughter, Carolina (Juno Temple), play like a regional production of Tennessee Williams, often filmed in long, mobile takes as if Vittorio Storaro's camera has just wandered onstage.

The trickiest aspect of character preparation for Manville was developing the kind of off - camera ease with Day - Lewis that would inform Reynolds and Cyril's interconnectedness on screen — so potent they often communicate with a look or gesture rather than dialogue.