Sentences with phrase «shoot camera around»

Not exact matches

Bay utilizes a 360 shot that has the camera slowly spin around one or more characters (usually the protagonists) as they come up from below frame.

It's a tiny, extraordinarily light camera that you can wear on a type of headband that shoots video as you walk around.

On the creation side, GoPro's media group manager, Bradford Schmidt, persuaded Woodman to acquire a leading digital - video software company, CineForm, in early 2011, right around the time GoPro released a rig that allows users to shoot in 3 - D by calibrating two cameras to shoot simultaneously and create layered 3 - D files.

At the Shot Show in particular, you might go around with a video camera and shoot interviews to later sell to the businesses as a marketing asset.

I had a clunky Canon 35 mm camera loaded with black and white film that I took around the country and the world alike, and I had the time of my life shooting everything from European cathedrals to iconic East Coast skylines.

Benny «if you dare me to shoot and there is a camera on me I'm going to take the shot and make it» Lalez is also around for another All Sports Series campaign but those two are joined by Kevin «no relation to Marc» Bulger and Hal «It's good to see you» Schmeisser.

Having your camera mounted on a tripod allows you to easily tilt and adjust your camera's position, which is extremely convenient for when you want to try various shooting angles without having to walk around your subject and contort your body just to get the perfect shot.

Plus, some babies who are never exposed to an impromptu photo shoot moment, may develop some shyness around the camera.

In a Tues., Aug. 23 press release announcing the program's 2012 roster, Hess was listed alongside 12 other decorated photographers from around North America who shoot exclusively with Olympus digital cameras.

Would you send someone to jail on the basis of video footage shot with a low - resolution camera whose lens has dirty marks around the sides and a massive hole in the middle?

While filming a TV series on the island of Ibiza, her hands were so raw that the camera crew had to shoot around them, she told the Daily Mail.

This morning, we shot a campaign at a quintessential Parisian café around the block from our apartment in about 20 minutes because everything was on lock: Jen behind the camera + the location was relatively empty + the light was working in our favour = content.

Special thanks to Joy Hernon (assistant beauty editor at Marie Claire), Joel Barhamand (photographer)-- it was so fun hanging out with you guys and all the interns at Marie Claire involved with coordinating the shoot and carrying camera reflectors around town.

and this one was easy — I got dressed to go to the grocery store and shoot a few photos for Jess, and she turned the camera around and snapped a few pics of me.

This is a «bonus» photo of mine doing stupid things in front of the camera, because, i have to admit, i felt a bit uncomfortable shooting in a place with people around staring:P.

For now I shoot my photos by myself at home or around my home but I use a decent camera.

Unfortunately he's not one to pose for the camera, he was far too interested in the kids running around to sit still for a few shots (you can see him here too).

Fast forward a few weeks, and Angie showed up at my door here in the West Village, camera gear in tow, ready to shoot around my neighborhood (yep, she's the agency founder AND principal photographer — talk about a woman after my own heart).

Hamaguchi arranges most sequences around a handful of static, roomy medium shots that subtly suggest emotional dynamics through camera and actor positioning.

The shot lingers, gives us time, for our eyes to wander around the frame as the camera is not focused on any one thing.

Shot on a variety of small HD cameras which were thrown around on the ship and in the ocean, Leviathan is a disorienting assault on the senses that captures the

The final shot is the film's altarpiece: a weightless camera glides around the Toller and Mary in their rapturous embrace, as the emphatic sounds of the choir singing «Leaning on the Everlasting Arms» reverberate.

In the final shot of Lantana (2001) Ray Lawrence's camera swirls around Sonja (Kerry Armstrong) and Leon (Anthony LaPaglia), eyeing one another warily, refusing to erase the betrayal with a kiss.

There are a massive amount of collectibles to give more information to the story, but perhaps the most intriguing are the camera shots that can be taken around the island.

The company also set up six witness cameras around ice rink so they could pinpoint the movements of the skating double, rebuilt all the stadiums in CG and repopulated stadiums with CG people so they could match exact backgrounds from shot to shot.

Obviously there are some clever editing tricks to make this long shot effect real, but when you have characters talking at great lengths as the cameras spins around the room and follow them down the narrow halls of the theatre, it's quite astounding to experience.

The opening credits of the film are displayed while a camera shoots extreme close - up sweeps around a dead body which is currently being consumed by maggots and other bugs, and this should give you an indication of how unflinching the rest of the film is in the showcasing of disturbing acts of violence.

Constructed around a few locations (including Stevens» own home for Anne's gilded prison) and a cast of four central characters and shot in an economical ten days, it is both a handsome production (shot by veteran, Oscar - nominated DP Ted McCord sometime between Treasure of the Sierra Madre and The Sound of Music, and camera operator Conrad Hall) and a visually evocative world taut with palpable tension and he orchestrates the quartet nicely.

The directing duo also knows when to accelerate the action romp with a well - shot car chase on the empty streets and a one - take where the camera pans and swirls around the movie's MacGuffin.

Cinematographer Robert Elswit shoots gorgeous wide - angle shots of the West and employs slowly tracking cameras which weave around men and their machinations.

In New York I was able to walk through all the locations with cinematographer Michael Seresin and my camera operator, Mike Roberts: off - loading to them each scene and shot I had been carying around in my head all these weeks.

Civil War was also partly filmed with IMAX cameras and the movie in general tends to feel big, visually - speaking, in - between its action sequences and many establishing shots of locations around the globe (as well as the massive title font that's used to identify each individual change in location)- making IMAX the preferable viewing format for Civil War.

His resume, which includes penning the adapted screenplay for «Chicago» and calling the shots behind the camera for «Dreamgirls» and the final two FX - propelled «Twilight» films, shows he knows his way around both musicals and special effects.

Nowadays, anyone who can afford a smartphone carries a fairly decent video camera around with them 24/7, ready to shoot...

Trousdale and Wise staged and shot the production numbers with panache to match: that circular sweep around Belle when she sings «There must be more than this provincial life» in the Oscar - nominated curtain - raiser «Belle»; the indelible hilltop Sound of Music homage that is «Belle (Reprise)» (rendered all the more stunning by IMAX); the swinging camera moves in that showstopping musical monument of self - love, «Gaston»; the Busby Berkeley bustle of the also - nominated «Be Our Guest»; the eloquent simplicity of the Oscar - winning title number.

At the recent press day, Core, Ramirez, Bracey, wingsuit stunt pilot Jeb Corliss, professional free climber Chris Sharma, Alcon producers Andrew A. Kosove and Broderick Johnson, and 2nd unit director Philip Boston talked about how they went about creating the ultimate sports movie, how the actors viewed their characters and built the bro - mance, the challenges of coordinating a production that shot around the world in 11 countries and on 4 continents, why all the 2nd unit work was shot prior to the first unit work, why vision and authenticity were paramount, why the imagination, energy and focus required to shoot a film in camera is much greater than when visual effects are used everywhere, and why it took courage to make this film.

He actually weaves the camera around smoothly in places and holds a few still wide shots to great effect in other spots; there is even a pretty good crane shot thrown in.

I was won over by the credit sequence, which shows rock - and - roll heroine Susan (Renee Zellweger) lip - synching Little Richard's «The Girl Can't Help It» while cavorting madly around her fluffy 50s bedroom, shot in a slurred, pixilated form that recalls the exuberant camera style of Wong Kar - wei (Days of Being Wild, Chungking Express).

The ensuing fight is choreographed as one shot (though there are some pretty clear moments used to hide edits if you're looking out for them), as the camera whips around from perspective to perspective as more goons come from out of the woodwork to take her down.

On The Dark Knight, Ledger wasn't jumping around in character once the cameras stopped, but instead would sit down and talk with cast and crew of his daughter and the filming techniques on the shoot.

Less magical creatures scramble across dunes and through forests (the film was shot in Hawaii and on New York soundstages), as the camera prowls nervously around them, pausing now and then to let them talk.

Some shots, especially outdoor ones, have a slightly soft look with gentle auras around light colors; I think this is due to the camera technology of the time more than insufficient remastering.

She is in every scene and practically every shot, Matthew Libatique's expertly placed camera following her dotingly around this cavernous house, creating a clear first person perspective in the film.

Highly stylized, the masterful direction immediately jumps out; the camera is perpetually moving, with long and involving shots that roam around the actors, thrusting you right into the middle of the powerful, visceral drama.

The fact that this all happens while its lead characters spend most of the time sitting around and talking is an achievement of its own, but while Howard may be the one calling the shots, it's the people in front of the camera (namely, Frank Langella and Michael Sheen) that make «Frost / Nixon» one of the absolute must - see films of the year.

Anderson and Yeoman shot «Moonrise Kingdom» in various locations around Narragansett Bay in Rhode Island using Super 16 mm film, plus Aaton Xterà and A-Minima cameras.

I'm less fond of the recycled 5.1 remix, here given a DTS - HD MA platform: it's too gimmicky and literalminded in retrospect, bouncing voices around the room based on where they are in relation to the camera even in simple shot - reverse - shot scenarios.

Zach starts having cameras shoot around the house around the clock for reasons that are never explained.

His camera swoops and glides up staircases, through hallways, and around corners like an omniscient phantom, almost always keeping a respectful distance from its subjects which it regards almost exclusively in 2 or 3 + shots.

(For the record, a lethal drinking game could probably be devised around the number of times Franco zooms to different parts of the same shot to avoid the inconvenience of relighting or moving the camera around.)