Sentences with phrase «shoots film photography»

Not exact matches

I love sharing stories through photography and shooting films.

In addition to his photography Vivanco has branched out into film, shooting videos for Dolce & Gabbana, Cesare Paciotti and Pull & Bear.

I love sharing stories through photography and shooting films.

Le Marais, Paris, France About Blog I Still Shoot Film is a photography blog dedicated to the art of film photography, sharing inspiring work from photographers around the globe.

The film feels like it's been assembled by committee, and news stories about the film's troubled production bear this out: after an initial round of photography during which the ending was being crafted almost on the fly, the film's release was delayed so that a new ending could be written and shot in an attempt to glue together two halves of a story that still don't feel like a whole.

Cooper and his director of photography Masanobu Takayanagi (who also worked on the filmmaker's last two movies) paint a visually striking but harsh and brutal portrait of the scenery here, placing an emphasis on long shots of desolate landscapes and closeups of human anguish in order to create the film's dismal mood.

Commentary 3 — The Picture - Director of Photography Darius Khondji, Prodcution Designer Arthur Max, Editor Richard Francis - Bruce, Richard Dyer and David Fincher talk about the look of the film itself, the color processes used on the print, the locations scouted for the various shots, the detail used in the studio backlot constructions, the style David wanted to achieve and succeeded in doing, the clothing, the grittiness, the absolute black Fincher always wanted in Alien 3 but could achieve until now and more.

Director of photography Larkin Seiple (Swiss Army Man) uses a lot of contre - jour and low - sun shots that give the frequently unsavory proceedings a majestic, deceivingly peaceful glow, while the film's versatile score is key in helping to calibrate all of the story's tricky transitions in mood and atmosphere.

Weinstein's background in cinematography (he was director of photography on the documentary «Elaine Stritch: Shoot Me» and directed «Flying on One Engine») is evident in the beautiful look of the film.

The 1080p 2.35 X 1 digital High Definition image was shot in Super 35 mm by Director of Photography Mark Irwin, C.S.C. / A.S.C., giving it the same lame school look emphasizing the same color schemes typical of such films shot in California.

Academy Award - winning director will officially take over directing duties for the remainder of the film's shooting schedule — there's nearly a month of principal photography to go in addition to five weeks of pre-scheduled reshoots.

The idea of shooting an intimate human drama in 3D is interesting but ends up adding nothing, bar making Benoit Debie «s photography feel muddier and dimmer in a film already rendered in a low - contrast palette of browns and greys.

(Liman and cinematographer Roman Vasyanov, shooting on Super 16 mm film, took care of principal photography in 14 days, using the western edge of California's Mojave Desert as a stand - in location.)

Extras include six featurettes that cover topics like shooting on location in Louisiana, filming the rooftop battle, on - set photography and more.

For the supplemental materials, there's an excerpt from the documentary Michelangelo Antonioni: The Eye That Changed Cinema; Blow - Up of «Blow - Up», a new documentary about the film; two interviews with David Hemmings, one on the set of Only When I Larf from 1968, and the other on the TV show City Lights from 1977; 50 Years of Blow - Up: Vanessa Redgrave / Philippe Garner, a 2016 SHOWstudio interview; an interview with actress Jane Birkin from 1989; Antonioni's Hypnotic Vision, featuring two separate pieces about the film: Modernism and Photography; both the teaser and theatrical trailers for the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration details.

The creative constraints assigned to the directors — each required to shoot her film as a continuous shot, and given one day apiece for principal photography — sometimes serve Waru's amazing production narrative more than the tales at hand.

Extras: Audio Commentary with director Mick Jackson, moderated by film writer Kier - La Janisse and Severin Films» David Gregory; «Audition For the Apocalypse»: Interview with actress Karen Meagher; «Shooting the Annihilation»: Interview with director of photography Andrew Dunn; «Destruction Designer»: Interview with production designer Christopher Robilliard; interview with film writer Stephen Thrower; US trailer.

Baker's crew shot the entire 2015 film using three iPhone 5S devices, with additional photography from an anamorphic clip - on lens, an app, and Steadicam Smoothee Mounts.

Blessed with excellent memories, Stiller and Childress — present for every day of principal photography at Stiller's behest (and sometimes her chagrin)-- recall the shoot in vivid detail, whether it be the order in which scenes were filmed or the mood of the set on a particular day.

In the Tyrone Power featurette included on Fox» Son of Fury DVD, Power apparently begged Zanuck to shoot the film in Technicolor, but the black & white photography definitely darkens the tone of the film and steers it away from the more frothy costume romp Alfred Newman's score clearly conveys.

The Appendices — A multi-part chronological history of the filming of The Hobbit: An Unexpected Journey, covering pre-production in the various departments of the film in the months leading up to the start of principal photography, the boot camp training for the main cast, the work done on set chronologically through the three shooting blocks and in the world of its digital effects.

Shot on grainy 16 mm film («Drinking Buddies» was shot digitally), the look of the film (lensed by Ben Richardson of «Beast of the Southern Wild» fame) is definitely a step backwards, and it appears as if the filmmakers only used available light, which doesn't make for the most flattering photograShot on grainy 16 mm film («Drinking Buddies» was shot digitally), the look of the film (lensed by Ben Richardson of «Beast of the Southern Wild» fame) is definitely a step backwards, and it appears as if the filmmakers only used available light, which doesn't make for the most flattering photograshot digitally), the look of the film (lensed by Ben Richardson of «Beast of the Southern Wild» fame) is definitely a step backwards, and it appears as if the filmmakers only used available light, which doesn't make for the most flattering photography.

That marks an unusual delay, given the film finished shooting principal photography last November, but insiders point out that the delay is because the movie's two stars are so in demand.

Piranha 3DD isn't going to be remembered for its glistening photography (by Alexandre Lehmann) but the film does look a lot better than its predecessor, thanks to the fact that it was shot in 3D as opposed to being converted in post.

In the middle of shooting his third feature, Soft in the Head, he decided to steer the improvised film's narrative arc in a new direction, retreating to the roof of the apartment building where he was shooting to scrawl out story beats on a napkin alongside his producer and Cody Stokes, his director of photography and frequent collaborator.

The pair co-wrote Anderson's last live - action film «The Darjeeling Limited» (along with Schwartzman) where Coppola also served as a producer and shot 2nd unit photography which he had done previously on «The Life Aquatic.»

Principle photography began in July 2013, with a scene of Collins in concert was filmed containing the band Chicago, with most of the movie shot in and around Los Angeles.

However, Anderson operated the camera for this film (with the help of other crew members, hence why he refuses to be called the director of photography for this picture), so every single shot is likely exactly what Anderson intended.

As it stands, the 1080p 1.85 X 1 digital High Definition image looks fine throughout, shot with remarkable form by Anderson as an uncredited Director of Photography, his use of the grain in the advanced Kodak Vision 3 35 mm camera negative film stocks is superior and impresses throughout as it usually does in all of his films.

The 1080p digital 1.85 X 1 VC - 1 High Definition image was shot by Director of Photography Remi Adefarasin, B.S.C., who recently lensed the sequel, several recent Woody Allen films and the underrated House Of Mirth.

Thus, the director decided to take advantage of the presence of his crew and most of his cast and shot a full second feature, Crystal Fairy & the Magical Cactus on a shoestring budget while waiting to complete principal photography on the film he was supposed to make in the first place.

The film spent several weeks shooting in Dublin last year, providing 300 people with temporary jobs during principle photography, and Fassbender said he enjoyed the opportunity to work at home for a change.

Dealing in youthful ambition and disappointment in one's parents, the whole film is shot explicitly from Ginger's perspective and boasts a lush, loose aesthetic (director of photography Robbie Ryan's impressive CV includes Fish Tank and The Angels» Share).

About 2 percent of the 2013's top 250 top - grossing films were shot by female directors of photography.

With its icy photography and handheld camerawork, Mungiu's film is shot in typical Romanian New Wave style, and certain scenes (the litany of sins, the police interrogation) may well lead Beyond the Hills to be seen as both a summation and an exemplary instance of the movement's aesthetic tendencies.

Historically, Thornton has shot all of his own films; he remains director of photography on Sweet Country, and it is vibrant for it.

The film was shot in Oregon, where Friedkin and company really take advantage of that state's natural beauty, resulting in some breathtaking photography.

Travis was the Director of Photography and Editor for 5414 Productions» friendly fire documentary A SECOND KNOCK AT THE DOOR.Travis puts to good use his Bachelor of Arts in Film, working with a wide array of clients, shooting everything from commercials and television shows, to documentaries, webseries, and feature films.

I love sharing stories through photography and shooting films.

I love sharing stories through photography and shooting films.

Many of our properties are perfect for still photography, commercials, television shows, music videos and feature film shoots.

The Santa Cruz County Film Commission assists with film permits, locations, and provides information on crew, equipment and support services for feature films, commercials, television, and still photography shoots.

No wonder that film director Peter Jackson spent over 270 days shooting principal photography for his

No wonder that film director Peter Jackson spent over 270 days shooting principal photography for his Lord of the Rings films here.

Beginning with an interactive live - action film directed by Neil Huxley (Avatar, Watchmen) and shot by Director of Photography, Fabian Wagner (Game of Thrones), the «Campaign That Never Forgets» faithfully recreates the award - winning Nemesis System, driving viewers to make key story decisions during the siege of a fortress in Mordor.

Renowned for her black and white photography, shot quickly and unobtrusively with the light available, her ideal shoot was one one where she exposed no more than a roll and a half of film, often in less than fifteen minutes.

See our policy for commercial photography, video and film and for weddings and family photo shoots.

For this project, Art League instructor Allison Duvall gave the 11 SOHO girls a basic photography workshop, and then each girl was given a point and shoot camera, a roll of black and white film, and tasked with taking photos of the people, places, and things most significant to them.

Whether seeking remembrance of a city's fading past or reflecting on nature's fugitive atmospheric effects, Hutton sculpts with time; each film unfolds in silent reverie, with a series of extended single shots taken from a fixed position, harking back to cinema's origins and to traditions of painting and still photography.

She shot and edited the film In the Street with Janice Loeb and James Agee, providing a moving portrait of her still photography.