Sentences with phrase «shooting the camera without»

Not exact matches

That is why in every movie theater there shall be established a well functioning alarm system, with cameras outside the door, and sound which immidiately would alert, an adequate number of well trained, armed and background checked security guards to arrive ready to apprehend the perpotrator and provide for the safety for all the innocent individuals who spent their money to have a good time not to get shot at (enterprises cut corners and then we complain about security and unemployment, charge what you charge for the concession if you have to without serving the soda and the pop - corn, I rather stay lean, healthy, intact and alive).

I managed to make it through the whole ceremony without crying, mostly because she looked so excited and proud, and also because I was slightly annoyed that the little girl they stuck in front of her was too tall and her cap kept blocking my camera shots.

The shoots took place at Yeshen's home in London and at Folksy HQ in Sheffield, and show what's possible without fancy studio sets or equipment, but with a few carefully chosen props, some basic camera knowledge and lots of ideas.

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.

A lawsuit filed by a labor union for the NYPD that seeks to block the release of footage from officers» body - worn cameras without a court order may have far - reaching implications for public access to videos of police incidents, including fatal shootings.

He's also added bed - based brooding and Tommy Lee Jones - talking to his considerable repetoire of skills; meanwhile, it looks like returning director Paul Greengrass (The Bourne Supremacy, The Bourne Ultimatum) has finally mastered the art of shooting a tense action scene without shaking his camera like he's tap dancing on the San Andreas fault.

The experience and freedom this gave the director ultimately allowing him to create whatever he envisaged without the restrictions of spiralling budgets or the worry of having missed a shot or used the wrong camera angle was all but absent due to the fact that this could now all be done in post production on computer.

Fujimoto's shadowy visual sensibility was a unifying factor, and without it, «Ricki And The Flash» — which was shot by Declan Quinn, Demme's go - to cinematographer in recent years — swings wildly between different conventional camera styles, turning into a small - club concert doc for The Flash's regular gigs at The Salt Well or into stagey, locked - down farce during the restaurant scene that introduces Ricki and Pete's sons, Joshua (Sebastian Stan) and Adam (Nick Westrate).

This thought - provoking documentary offers an unusually - unguarded, cinematic portrait of an unassuming Hollywood icon due to its 65 year - old subject's allowing herself to be shot without concern about finding flattering camera angles.

Perhaps intended as loving homage, «The Better Angels» instead borders deeply on self - serious parody, virtually utilizing a checklist of every stylistic trope Edwards» cinematic maharishi uses — hushed ponderous voice - over about the nature of life; that gliding camera; dancing wide - angle shots; jump cuts; dancing in fields; a spiritual connection to nature — and one by one employing them all without a trace of ironic self - awareness.

The show takes cues from the big screen as well: Its absurdist deadpan and quasi-documentary feel (the episodes are shot on handheld camera without a studio audience or laugh track) recall Christopher Guest's improvisational gems.

Jonze's sense of camera and production design remains top - notch; his LA (actually shot in Shanghai) is both evocative and cozy, and his implementation of new technology without tipping over into the garish is inspired.

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.

As Wilder once said, «I like to believe that movement can be achieved eloquently, elegantly, economically and logically, without shooting from a hole in the ground, without hanging the camera from the chandelier, and without the camera dolly dancing a polka.»

He explains the tedious difficulty of shooting a journey without the aid of a separate cameraman — constantly stopping to establish a tripod shot, followed by driving away from and back to the camera.

Other non-starters include Camera (essentially a hidden object puzzle where you're looking to take photos of on - the - run criminals), Patchwork (a tiresome pattern - matching puzzle game), Ski (a motion - controlled top down game very similar to the F - Zero mini-game from Nintendo Land), Kung Fu (a frustratingly slow - paced platform game with the art style from Ōkami), Design (a thinly veiled excuse to indulge Shigeru Miyamoto's love for guessing the length of objects (no, really)-RRB-, and Ashley (a tedious 2D shooter without any actual shooting).

The action is very well shot, with everything clear and precise even as carnage ensues; certain other blockbuster filmmakers could learn a thing or two about letting the audience see what's going on without constantly shaking the camera or zooming in too closely.

His 2015 feature film, The Visit, wasn't without its share of faults — the found - footage angle was unnecessary and hampered his strengths, which has always been his shot selection behind the camera — but it was thrilling, cohesive, and digestible enough that it didn't seem too silly or outlandish.

Honestly, it's all in the way Edgar Wright shoots it, keeping the camera right in the action, but moving the shot from one beat to another without cutting, giving the feeling of being in a real fight.

It's a deliberately paced and beautifully shot film, not without some haunting moments and shows great promise for the two time Oscar nominated actress behind the camera.

However, none of this would have amounted to much without the perfect recreation of the Sixties fluff comedy look of the film, complete with sumptuous Technicolor vibe, light jazz and lounge soundtrack, gaudy wardrobe, split - screen conversations, process shots, and none of the camera techniques that have been development in the last 40 years that would suggest this is a modern film.

It's not easy to grasp how it was done, for the camera of Sean Bobbitt is not static but moves hectically around this swirling scene without ever breaking shot.

«PARK CITY, Utah — About three years ago, Randy Moore, a struggling screenwriter living in Burbank, had an out - there idea: What if he took a tiny camera and, without asking permission, began shooting a narrative movie at Disney theme parks?Moore had been visiting Disney World in Orlando, Fla., with his now - estranged father since he was a child, and he'd also begun taking his two children, then 1 and 3, to Disneyland.

Without all these really tiny cameras and the ease of filming with them, we wouldn't be able to get some of the shots we've been getting nowadays.

This dual sim device is expected to ship with Easy Swap functionality (change second SIM freely without switching off the device and pulling out your battery), 320 x 240 pixels 2.4 inches TFT resistive touchscreen display, 2 megapixels camera with 176x144@10fps video shooting abilities, Bluetooth v2.1 with A2DP EDR, GPRS / EDGE internet connectivity, 10 MB internal memory with 64 MB ROM, 32 MB RAM and a 32 GB max microSD slot.

Right in the middle of our on - again, off - again interview they put on makeup and started to pose for the camera, without any products in the shot.

Without too much song and dance, and sidestepping the gimmicks, the Pixel XL has a fast shooting camera that delivers excellent results.

Lenovo tweaked the standard camera app, and the most significant difference is an additional button for video recording that lets you shoot clips without having to change modes.

Imagine you shoot a photo / video on the phone camera, you can actually show it off on a large screen without having to transfer it to a PC or photo sharing site!

Most point — and — shoot cameras come with standard features like direct — to — printer output capability (allowing you to print photos directly from the camera without transferring to a computer), in — camera red — eye removal, face detection and video recording capability.

Photography — I never go on a trip without my camera and, as a result, take creative, high - quality shots all around the world.

They are not able to say about the natural beauty of Indonesia without showing digital camera shots.

Kratos is now joined by his son Atreus, he has an axe in place of the Blades of Athena and to add to this, there is now a one continuous camera shot which flits between the brilliant story and the over the shoulder action, meaning you'll be immersed from start to finish in the new Norse mythology - inspired setting without a load screen in sight (well unless Kratos is killed * disclaimer * he'll be killed a lot).

Arguably it's even better to head into the game without having every played The Stanley Parable since even that will somewhat color your expectations in much the same way that someone going into the latest Michael Bay movie has certain expectations regarding insane explosions and low - down, spinning camera shots.

However, take the aiming aids off and everything goes the opposite way as the camera sits slightly too high above your cue during aiming which makes taking shots without the use of aids a frustrating experience.

Namely, Peyton uses to shot her subjects with either a standard 35 - millimeter or a Polaroid camera, without any particular focus on composition or lighting and in 2002 transferred to a digital camera.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

Jennifer West began her systematic research into the possibility of shooting films without using a camera as far back as 2004.

For maximum quality, online videos should be shot in production studios, which provides access to professional sets, top notch camera equipment, and «bells and whistles» such as teleprompters (which displays scripts to participants in a way that makes it easy for them to read without appearing distracted).

From an elite smartphone provider to an amazing camera system helpful to shoot beautiful videos and pictures, without the need of an SLR; Apple mentions a subtle message that its iPhone is an all - in - one device people crave to own.

Although there's no camera cut - out in the book, the leather sleeve has one, so you can pop the closures open and snap a shot without having to fully remove the iPad.

Multi-frame processing tries to be a bit more like the post processing of the Google Pixel, but without the massive Google database — instead, DRAM built into the main camera module processes dozens of shots to analyze and produce the best possible final result.

The camera is much slower to capture photos in low light when using HDR, which makes it difficult to grab shots that are in focus without using some other form of stabilization like a tripod.

Photos I shot in midday looked blown out, without the crispness of detail you'd get from other camera phones.

Secondly, a neat new 56 mm telephoto camera that lets you capture zoomed in shots without resorting to digital zoom.

Moving to the stills photography side of things, and the intelligent auto mode on the Xperia XZ2 provides a great camera experience for point - and - shoot enthusiasts who just want to take good pictures at the touch of a button without having to tinker.

The idea is simple: instead of dealing with the onerous task of having to shoot accurately and carefully with a 360 - degree camera, Lenovo envisions the Mirage 180 as a way to create VR photo experiences without all the headaches.

The camera app will let you take a lot of quick shots without shutter lag.

Below this is a camera button, which enables you to snap shots without touching the screen.

The default Android camera has various extras built into it already, but HTC seems to have omitted only a kitchen sink app in assembling the One's camera software: Among the available shooting modes are HDR and panorama; and you can apply filters to your photos without having to resort to third - party apps such as Instagram.