Sentences with phrase «special effects shot»

When I hear people say things like they don't want to know how something is made speaking of a certain special effects shot or stunt work, they just don't want to know because for them it ruins the mystery.

Again and again I saw a well - conceived special effects shot stuck next to a live action «reaction'that was badly timed, poorly framed and totally unconvincing.

He stated there was 8 sets created and there were 2,000 special effects shot in 3D.

Kubrick starts with special effects shots, then moves on to photographic process ones.

We found boxes that were supposed to be full of special effects shots that actually contained misplaced deleted scenes.

The latter scenes combine a haunting look at the aftermath of the disaster, including one special effect shot immediately afterward that is frightening.

Flinging special effects shots of alien spacecraft bombing buildings and shaky - cam confusion to the soldiers on the ground just isn't enough of a story to keep a nearly two - hour film afloat, and not long after the film starts does it run out of anything but the most basic ideas on what to do with its characters and where they should go.

As Magneto sets down the bridge and prepares to loose his minions in an attack, one minute it's light, the very next shot it's dark... perhaps easier to render the myriad special effect shots that await in the finale.

There's a twist in the story whereby one of the characters is having a reaction to his exposure to the alien that gives him some superhuman side effects but this side angle feels undeveloped, seemingly more an excuse to showcase the inky - veined special effect shots that have our protagonist give an eerie, glowy - eyed and painted - face look.

There are a number of special effects shots also, and the camera makes several impossible moves, à la Fincher's Panic Room.

Not exact matches

Deutsch obligingly shot himself in one special effect — but stayed with us until the programme ended because he had killed himself in another, parallel universe.

These showcase sequences under - deliver entirely, with all of them being either a formless mess (a shoehorned car chase, an overwhelmingly ordinary hallway shootout), or a sterile special effects expo (time manipulation and anti-grav shots).

She then moved to eastern Europe for six months while shooting her second movie, Dragonheart, which was also a very physical role but also required her to deal with CGI special effects.

The special effects are almost photo - realistic, and yet whenever George and Davis are in the same shot it feels like you're watching a joyless modern riff on «Who Framed Roger Rabbit?»

There is hardly any point in discussing the direction of a picture like this, in which almost every shot has been predetermined by the requirements of the special effects, yet director Richard Marquand fluffs the two or three real opportunities he has, rendering the long - delayed character climaxes with a chilly indifference.

Even with all the stars and special effects and astronomical budgets, he manages to stick some signature shots in.

A murky, brain - dead stab - a-thon packed with so many inane chases, laughable special effects, and mismatched stock footage shots that it begs to be made into a drinking game, London Has Fallen is one of those rare films that is good at absolutely nothing.

Perfect your special shots, shoot with special effects, fool your opponent and make the most impressive saves, controlling the ball with one finger, and become the Brazil 2014 Champion.

Blu - ray Highlight: In addition to an excellent six - part documentary that runs the entire gamut of production — from location shooting in Romania, to Nicolas Cage's (creepy) performance capture of the Ghost Rider, to special effects and more — the Blu - ray also includes a feature similar to Warner Bros.» Maximum Movie Mode where directors Mark Neveldine and Brian Taylor dissect the film (sometimes pausing it to discuss certain scenes in more detail) with the help of behind - the - scenes footage.

As Toller's physical, moral, and spiritual torment escalates to a metaphysical degree, Schrader builds baroqueness into the film's architectonics, adding artifice to austerity with soundtrack music, mobile shots, and even special effects.

One actress» performance was so frenzied, at one point her arm went up in the air as she flailed around, blocking the special effects in the shot.

Audio Commentary: Director Brad Peyton provides a running commentary touch on all aspects of the production include casting and character development, as well as all the details on the special effects work and shooting challenges.

Given the extreme low budget (the film was shot on a shoestring in Budapest), the special effects look pretty credible, with Petty wisely deciding to spend most of the time with the creatures in the background or swathed in shadow, understanding that Sentinel is a picture of ideas — an unusually faithful recreation of Hitchcock's film possessed of a similar, mordant sense of humour, if an understandable surfeit of corresponding depth.

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

Originally intended to be shot in full Cinerama, it was eventually filmed in the more conventional Super Panavison 70 process when special effects supervisor Douglas Trumbull pointed out that it offered less chance for visual distortion.

Apart from the opening scene, which incorporates special effects to help create a massive dry dock that serves as a prison (the prisoners hauling a ship into it with lines as thick as tree trunks), and a few brief establishing shots, which include dramatic rises and falls of the camera through space and time as each new stage of the story begins, Les Misérables keeps us in close — sometimes very close — proximity to the actors.

There is a single shot in The Adventures of Tintin that is so elaborately choreographed that it could only be pulled off in animation — even with Steven Spielberg, that master of implementing special effects, at the helm.

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.

What does it mean when Roland Emmerich, a man who is known for creating some of the biggest and most expensive special effects movies ever made, has decided to shoot his next movie on the cheap?

And let's not forget about the action sequences, which feature awesome fight choreography, impressive special effects allowing the heroes and villains to throw air, fire, water or air at each other, and some really cool long unbroken shots that use zoom - ins and slow - motion in a way that recalls «The Matrix» or «300».

Tagged With: Abraham Attah, book to screen, Cary Fukunaga, child abuse, child soldier, Civil War, Idris Elba, practical special effects, tracking shot, Uzodinma Iweala, West Africa

is a somewhat standard promotional documentary comprised of on - set interviews, shots from the film, B - roll footage, and a few (too few) nifty behind - the - scenes special effects sequences.

I've noticed a similar trend with a lot of special effects and even some ordinary character shots in both films and TV clearly being modelled to resemble video game scenarios.

What is LXG but an accumulation of shoot - outs, explosions, quips and CGI special effects assembled into a semi-coherent haze?

But it benefits from a handful of glorious visual moments unlike anything else in sci - fi — the stunning track - back through the universe at the film's opening, the special effects bonanza that brings matters to a climax and a truly weird and unforgettable through - the - mirror long shot.

Here, once again, is the bald, barcoded, and entirely conspicuous video game protagonist who shoots his way through a nonsense plot, his near - invincibility inciting surprisingly chintzy special effects along the way, in between the ample time this movie spends on scenes of people staring at computer screens as face - recognition programs run.

After a long summer of special effects, explosions, stabbings, shootings, gross - out comedies, supernatural mystifications, horror stories and movies about the alarmingly sophisticated sex lives of teenagers, September brings relief.

This marks the first time a Star Trek film has shot outside the United States, with shooting in Iceland for special effects sequences.

As far as a shoot «em up goes, this movie relied less on huge explosions and special effects, and went more with a Bourne - style of using clever booby traps and good fight scenes.

It's shot in 3D with loads of special effects and talking rodents.

Instead, the movie's baffling final shot attempts to jolt a surprise out of you with special effects.

The special effects vary from charming to astonishing to deliciously cheesy, and at least a couple of shots of mass destruction seem to have been engineered specifically in response to Independence Day, although Mars Attacks!

Deathly Hallows has plenty of special effects moments that look spectacular in HD, and even when there's not a huge action sequence in play, the film's reliance on the party's trek means there are lots of sweeping landscape shots that have their own beauty.

Aside from bad dialogue and worse special effects, one of the most frustrating features of «Legend» is its shortage of lingering shots.

Smartly shot for a very modest budget of $ 30 million (lots of strings were certainly pulled to get such a cast of famous personalities onboard), Rogen and Goldberg know where and when it's most effective to go for special effects (this does not feel like a low budget Hollywood film), and they do so without letting visuals or star egos get in the way of making a very funny movie.

The action scenes are pretty damn neat (though the special effects are terrible), but the other scenes... medium shots, close - ups... Story's out of his compositional depth.

Although the special effects are the attraction, curiously, the film feels low rent much of the time, with digital camera textures and interior shots of a mostly barren apartment.

Special Effects Camera Dailies provides 3 minutes worth of effects shots directed by production designer Peter Ellenshaw.

Geostorm is full of back to back special effects many of which were clearly shot to enhance the 3D spectacle.

Since this show was shot on video and the special effects were set in their masters.