Presentation in Scarygirl is comprised of detailed environments and
shifting camera perspectives that make the experience stand out - it's by far the best aspect of the game.
Not exact matches
On the surface, this 1965 mystery is no more than a smartly done, intelligently written thriller but Preminger's fierce cinematic intelligence guides a fluid
camera that effortlessly tracks, glides, and reframes characters as they
shift through scenes,
shifting our
perspective along the way.
There may be no more beautiful shot in all of cinema than the creeping prowl through the swamp, the
camera pushing through leaves and branches and breaking through the mist, subtly
shifting perspective without ever breaking it's measured pace or floating gaze.
They move the
camera with unfettered glee as a means of evoking the wild abandon of the comic book page, which makes for a natural fit with Raimi's penchant for rapid
shifts in
perspective, sudden movements, and extreme close - ups.
In order to provide an overwhelming, deeply immersive horror experience, the game's system underwent a dramatic
shift from its previous third - person
camera to a new first - person
perspective, helping to drive sales of the title to 5.1 million units worldwide
The
camera never breaks away (though there are clear moments where cuts can be and are hidden, which is by no means a detriment), and its
perspective shifts from character to character as they interact.
The gallery also included a solitary image from pCARS» in - helmet
camera perspective, showcasing what Slightly Mad's pioneering feature (which debuted in 2011's Need for Speed:
Shift 2 Unleashed) for the first time on an eight - gen games console.
EM:
Perspective wise, we watch the game from above the characters, and I notice in some of the early gameplay that
cameras would
shift quite a bit while moving between areas, so what do you see as the key to smooth transitions in cinematic play?
When you choose a unit, the
camera shifts from the overhead map view down to a third - person
perspective.
While it seems natural to see Halo's world from a first - person
perspective, the real power of the genre
shift in Halo Wars is that it pulls that
camera into the sky and shows all that sumptuous color and lively action splayed out below.
In episode two, for example, turning on an electrical switch will cut to a shot above a ceiling fan as it spins slowly, allowing a scrap of paper situated atop a fan blade to fall to the table below before
shifting the
camera back to the character's
perspective.
Along the way, players will collect different weapons which, when aiming,
shift the
camera to a first - person
perspective that make the game more dramatic in times of crisis.
The game makes good use of the 3DS» stereoscopic display, too, with sweeping
camera shifts from overhead views to side
perspectives rendered all the more dramatic by the added third dimension.
Transform a 2D matte painting into a 3D scene, complete with a moving
camera,
shifting perspective, and an animated background.
One of the key threads of Fragments is the way that vision changes depending on your vantage point, and there are dramatic
shifts in both
perspective and scale throughout; from digital explorations via endless scroll to earth — as -
camera, as in Jeremy Bolen's Site A / Plot M series (2012).
/ reviews and publications 2016 Territories Within a Political Ecology by Ashley Haywood, Rochford Street Review 2015 Dead Ringer Catalogue, PICA Press 2014 Compulsively obsessive art & sound, review of What I see When I Look At Sound by Darren Jorgenson, RealTime Magazine 2014
Shifting the Registers, review of What I See When I Look At Sound by John Mateer, Art Monthly Magazine 2014 Interview for Cut Common Magazine 2013 Review of
perspectives [macro] by Steve Paraskos, Partial Durations (RealTime affiliate) 2013 Pleasures Synaesthetic and Crystalline by Sam Gillies, review of fractal shale, RealTime 2011 Slippage of Sound and Sight by Henry Anderson, review of Decibel
Camera Obscura concert, RealTime
Third, Samsung also showed some other advantages of the Note 8's possible dual
camera system, such as Super Night Shot Mode, which could allow for even better low - light photography;
perspective shift, which could let people adjust the angle of objects in a picture; and true depth - sensing technology, instead of the simulated depth - of - field effects you get on the Galaxy S8.
The
perspective of the image
shifted easily from an overhead view to a sideways look at hands hitting the keys; eventually the
camera could even show the hands separating from the rest of the body.