Sentences with phrase «then framing a shot»

Nichols» work on The Graduate is great, but it was Harold who thought of Mrs. Robinson bending her knee and then framing a shot of Benjamin as seen through her sexy limbs.

Then frame your shots around that focal point.

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.

Curry then won the game in the extra frame with this absurd shot:

Then along came digital, which puts the photographer back in charge, from framing the shot to producing the print.

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

Then, for a twinning photo shoot, we both paired our new boots with a messy bun, our circular, mirrored frames from the Ladies Market in Mon Kok, our matching stripes (hers belongs to her mom which I gave to Julie;), and some black on the bottom.

But then Glazer holds the shot, and we watch as a fork enters the frame.

In the penultimate shot, dead Lincoln is lying on a small bed, nestled as a baby, his face quite calm, it is obvious that his murder has not astonished him; then in the final scene at the Capitol, Lincoln is standing erect, in action, delivering a speech to the multitude in the middle of the frame.

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.

Maybe everyting would have been less jarring had Kobiela and Welchman painted the film from scratch, but the decision to shoot it first with live actors and then rotoscope them later only makes it more difficult to float between the frames.

When the ship capsizes, the people fall down through the frame (in reality the camera was tilted and they were pulled vertically) and Neame then cuts to shots of dummies falling on the floor.

And until then, the film is so remarkable at synching its picturesque style to Moonee's seemingly limitless freedom that the one time they do fall out of sync feels jarring, almost offensive: In long shot, Moonee and her friends charge past a series of stores and toward the promise of ice cream, and even after the children have exited the frame, the camera lingers on the sight of an obese person on a scooter riding in the other direction, the sound of the scooter going over a speed bump nothing more than a punchline, an easy potshot, at the expense of a person who isn't even a bystander to Moonee's life.

The monster's face appears in a corner of the frame in one shot, then closer in another, until finally Whale picks it up and gives it to Boone.

All the slow motion, tracking moves, and framing and wide and long shots are hauntingly descriptive: In that strangulation sequence, a shot in an apartment hallway with Bulger and his victim in the foreground slowly accommodates, in the background, one out - of - focus henchman, then another.

LOVING VINCENT was first shot as a live action film with actors, and then hand - painted over frame - by - frame in oils.

Though the 1.85:1 anamorphic widescreen transfer of the film (full - frame version sold separately) starts out looking scuffed, the speckles clear up after the opening credits — but then edge - enhancement intrudes, and there's a bizarre lapse in quality during chapter 6, when intermittent shots lose so much definition as to suggest second - generation VHS.

The Five - Year Engagement, which runs longer than two hours and invites all kinds of bitter jokes about the title, is another collaboration between writer / director Nicholas Stoller and writer / star Jason Segel in which they seem to have written and shot a movie that is four hours long, then awkwardly stuffed it into a still - overlong two - hour frame

If you can imagine this film being shot in the same split - time frame structure that «Pulp Fiction» had, then this would give you an idea of how Tarantino intended this to look.

The final tracking shot of Antoine Doinel — running down the beach to the water's edge, stopping, with no further escape route in front of him, then turning toward camera and freeze - framed with an optical zoom into his young and lost face — always brings me to tears.

And with Tom Hooper behind the camera shooting things in the most pedestrian way possible (a hallmark of his after films like The King's Speech and Les Miserables), only every now and then spicing things up with the way he frames Gerda painting from behind the canvas, there is not much to distract from the issues at the core of the film.

, and a shot that starts from an extreme close - up of Fiennes» beard and then backs up until he's sharing the frame with others.

It is a notably unsettled experience for the audience, as director Robert Greene chooses to anchor the film on a sort of framing device, opening the film on Kate in wardrobe on the day she will shoot her climactic scene, and then constantly revisiting it as she builds her character.

Shoot straight down the middle with low - cost investments that are fairly representative of appropriate markets for your investment time frame, and then you can get more detailed as your wealth grows.

Canzoneri works with unknown predecessors, first by framing her shot of the scene in imitation of the original, and then by fusing the two.

Once you've uploaded your photos, you can identify the people in them, organize them into albums, and then ask Alexa to show all your photos of a particular person, photos in a specified album, or photos that were shot during a stated time frame.

When it comes to shooting stills, you don't have a ton of tools at your disposal — just tapping to focus, tapping and holding to lock focus and then adjust brightness, 20 frame burst mode (just hold the shutter down), and then three toggles to turn on Clear Image, HDR or Beauty modes.

Without a telephoto lens, I had to take a couple steps in just to frame the shot properly, and even then the end result looks strange for what is ostensibly supposed to be a portrait.

Offset with shots of neon then, for a new take on panelling, frame flock wallpaper with a double hit of colour.