Sentences with phrase «shot frame by frame»

«Mr. Louis and the small beetle» is an animation film shot frame by frame, lasting for about six and a half minutes.

Not exact matches

It does this by shipping customers five pairs of frames that they select from Warby Parker's website in packaging that encourages them to take pictures of themselves wearing the glasses and then post the shots on their Facebook, Instagram and Twitter accounts.

Aimed squarely at the bird is the Phantom, a camera originally invented for ballistics research that can produce ultra-slow motion video by shooting at about 4,000 frames per second.

Garcia poured in four threes in the first two frames as Houston chose to live by the outside shot.

These images achieve the goal that has driven every SI photographer: to bring the magazine's readers closer to the action (a Buckeyes quarterback framed by the perfect crowd shot and Tiger painting one of his masterpieces) and closer to the story behind the action (the burn in Lance Armstrong's thighs and the inferno in Ray Lewis's eyes).

City had the possession advantage, but in terms of pure effectiveness they weren't within miles of Liverpool in the first half, perhaps best exemplified by the fact they didn't manage a single shot on target in the first half out of the three they took, while Liverpool managed four on frame and scored on three of them.

One thing Steve also pointed out was the rule of thirds — that's dividing up the shot by thirds so that the framing of a shot feels right when you see the final product.

For example, the natural wood of the old picture frame accompanying this lino print by Cally Conway brings texture to the product shot, complements the natural subject matter of the print, and reinforces the idea that this print is special — it's one of a kind, not something you can just pick off the shelf at Ikea.

Some of the mind - boggling features include shooting from two angles at once by connecting via your smartphone over Wi - Fi and shooting at an insane 240 frames per second thanks to Panasonic's one - of - a-kind Crystal Engine.

To achieve the high - definition needed for the big screen, Domino takes images which have been shot on movie film and converts them into a video format by breaking each of the 24 frames per second into a mosaic of 3000 × 2000 picture points.

Some frames of the recollection are dropped on the mind's cutting - room floor, others are restored and enhanced, and others still are so deftly combined either by our wants or by the vagaries of chance that they create new scenes that were never shot.

Then he perched them one by one in front of a camera that shoots 3,000 frames a second.

, not at all, it was because of the chronic low - grade stress Susan had been living under for many years, and the panic attack was induced now by an extra shot of adrenalin (epinephrine) and cortisol, the two main stress hormones, which were effecting her small frame.

Don't be fooled by the model shot — this dress came almost to my knees on my 5» 8 ″ frame.

All of the custom framework for the art in this shoot, from the 5 ″ custom frames for your Instagram photos (see nightstand styling) to the 30 × 40 ″ oversized frame (see media stand styling), was done by Framebridge.

The higher frame rate has some perks — CG characters appear more solid — but they're outnumbered by the drawbacks, most notably a queasy smoothness to chase scenes, quick pans, and aerial shots.

The movie could have been much improved by slicing a few frames from each shot, and reining in Rust's weirdness just a bit % u2014so as to not contribute to the lumbering, hallucinogenic feel of his initial characterization.

The movie's frequently stunning compositions (shot by Penn and Eric Gautier) reveal not only Chris» ruminations as he appears framed by windows on his bus, hiking through magnificent forests or kayaking a rambunctious river to Mexico — but also his inability to immerse himself in the wilderness he cherishes and respects.

This is a beautifully built, classically framed movie, shot with the unshowy natural expressiveness of a John Ford Western by Spielberg's great cinematographer, Janusz Kaminski.

One of many interesting stylistic choices by director Irvin Kershner and cinematographer Haskell Wexler, who shot the film in gorgeous high contrast black - and - white with the warts - and - all insouciance of a documentary, is to present this reunion scene sans dialogue (which is buried by train noise)-- with Billy and Pio framed in the oval window of the train door.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

The first look at a heavily anticipated blockbuster now inspires article - length analysis, with eagle - eyed writers going through them line by line, shot by shot, sometimes frame by frame, searching for pertinent plot details with the kind of intensity of attention once reserved for the Zapruder film.

Francis Lawrence shoots everything with that backdrop visible; skulls and skeletons of obliterated civilians creep into the edge of the frame, while a beautiful off - the - cuff rendition of The Hanging Tree (by Katniss, with a hint of Lawrence's Winters Bone) is swiftly packaged up by the propaganda machine and turned into an earworm calling people to action.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Shot in artful, quiet light (many of the frames look like elegant paintings), The Innocents is beautifully performed by its nearly all - female cast; each nun, even those unnamed, is given her own personality and story.

There's some truly wodnerful and memorable shots and framing here that are STILL being copied to this day, and I was really struck by the artisticness of them.

The appeal of the film is manifold - its serenity as The American meticulously goes about his craft; the paucity of dialogue that heightens its few action sequences when they do occur; a superb ensemble of actors led by Clooney that also includes Violante Placido (Clara), Thekla Reuten (assassin), Johan Leysen (controller), and Paolo Bonacelli (as a local town priest); the artistic framing of the film by director Anton Corbijn both in its interiors and the long shots of the Italian settings; and simply the story's uncertainty that grips one from its very beginning.

The effective introduction of colour into a monochrome world was done by shooting in colour originally, scanning the film digitally at 2K, and then removing colour frame by frame as needing by the progression of the story.

One episode is framed, clumsily, by flashbacks in which a younger and more virile Hank, seen exclusively in silhouette and shot at what appears to be magic hour, mewls misterioso about the chemistry of the human body as though he were screen - testing for an Alejandro Gonzalez Iñárritu film.

In the contemporary scenes, the hotel is framed by a long shot to show emptiness of the building as an expression of its deterioration over the years.

Schwentke tries to invest visual energy in his latest attempt to prove his big - budget credentials — and in the movement and placement of cinematographer Alwin H. Küchler's (Hanna) roving frame, as well as the frenetic assemblage of shots by editor Mark Helfrich (Tower Heist), his endeavour shows signs of approaching success.

To cite only one example — which includes a spoiler — how likely is it that the racist white cop (Matt Dillon) who gropes a well - to - do black woman (Thandie Newton) while pretending to search her for weapons one night will be the officer who rescues her from a potentially fatal car accident less than 24 hours later, or that during the same time frame his partner will save her husband from being shot by another policeman?

Snyder himself hosts an ongoing commentary - «The Ultimate Watchmen Experience» - featuring behind - the - scenes shots, a timeline covering the history of the Watchmen universe, remarks from the director himself and (best of all) a side - by - side comparison between shots in the film and frames from the graphic novel.

In a shot that quickly will become a shining example of what Haynes does well throughout the series, he quickly establishes the financial stability of the Pierce family by casually letting the camera glide over a wall with framed photos, certificates and blueprints that informs us that Bert is at the helm of a prosperous real estate firm.

OPENING SHOTS News, Frame Ups: Names to Know by Serge Kaganski, Guilty Pleasures by Olivier Assayas, Hot Set: Far From Heaven by Amy Taubin, Journal: Paris, Distributor Wanted: R - XMAS by Amy Taubin, Discovery: Przemyslaw Shemie Reut by Chris Chang, First Look: Eight Women by Frédéric Bonnaud, Off the Shelf by David Chute

So decided to go off my memories of those films instead and as much as I love them, instead of deliberately quoting them I'd try to go by my childhood impressions of what I'd loved about them, the anamorphic framing, the lens flares, the dolly shots on faces, the way they mixed awe and moments of danger or heartbreak.

In Kidnap, he's maybe going for the relentless rat - tat - tat of late - period Tony Scott; there are some swirly camera movements, death - by - a-thousand-cuts sequences of cars flipping over, and even some fake flash frames added to an establishing shot to make it a little more Man On Fire.

The final showdown in this film may very well be the best shoot out in the history of the western; its length, pace, and the way in which it was framed all seem perfectly calculated by Costner.

Like Ida, it is shot in Poland (though its second half takes in Germany, Yugoslavia, and France) and its dazzling monochrome compositions favour placing actors low in the square frame and achieving IMAX impact by oppressing them with towering structures and huge, weighty skies.

I'm thinking of, say, the shot of Randall lazing off in the video store, surrounded by neatly organized commerce, all while Jay and Bob, and the rest of the uncaring world, goof off outside, framed in a window stashed in the corner of the image.

It seems any shot in the cutscenes that can be framed by the cleft of a girl's arse is.

David Bordwell contends that Tarantino deliberately signals his sources to his audience, «in order to tease pop connoisseurs into a new level of engagement,» while Aaron C. Anderson writes that by using framing markers and calculatingly phony distancing devices (like, for example, the black - and - white process shots in Pulp Fiction), «Tarantino draws attention to his film's status as a film, as a constructed work of fiction, and as a «simulation.

This entire scene is built around the idea of absence, and the filmmakers get it across in an admirably simple way, by including a prominent empty chair in shots of dinner tables or school recitals, or by working a Barnum - shaped shadow into some part of the frame.

plotting to be any fun as camp, and too ponderous to be watchable as a purely bad movie, Diablo doesn't offer much beyond a reminder of other, better films and some choice Alberta scenery framed by a cinematographer who shot John Carpenter and Robert Zemeckis» best work, but is now doing this.

The juxtaposition that emerges here is that of an uncluttered frame — a two - shot close - up — that is accompanied by a cluttered and overwrought sound track.

deconstructs the technique of the framing sequences starring McConaughey and Boothe, placing the most emphasis on their characters» ride in the patrol car, which was shot on a set using twirling lights and wind and rain machines orchestrated by Butler.

A beautiful face framed by flowing locks of brown hair and a steely gaze, Vega's Marina is a self - possessed woman, full of piss and vinegar, a soul as loud and beautiful as her countertenor voice (the feature of the film's staggering final shot).

Her past films, including Somersault and Lore, demonstrated her visual talents — especially a conscious variety in framing and shot composition — which deepen the vivid impressions left by the dark subject matter.

Guadagnino shoots Oliver as Elio must see him: statuesque, framed impeccably by windows and doorways, and glistening in the summer sun.

De Rochemont's background informed the film: it was based on a true story and largely shot on location, and the espionage drama, which was defined as much by the workaday procedure of the American agents as by the melodramatic storyline and the exotic danger of covert spies and double agents, was framed by authoritative narration.