Sentences with phrase «through screen shots»

When I get some time I'm going to post a «Life of Goo» series on our blog, outlining the development of World of Goo, mostly through screen shots and movies from all stages of development.

As I scrolled through the screen shots, Dave did his best to identify them.

Ships go flying through the screen shooting wildly at each other before going off - screen again.

Not exact matches

Suppose, for example, that a beam of electrons is shot through two narrow slits in a metal screen and strikes a photographic film placed a few centimeters behind the screen.

Just look at the potential lane Martin has to run through at the time of this screen shot.

His shot went through a screen and off Columbus defenseman Scott Harrington at 12:48.

There's a big difference between getting switched on a guard and being able to shuffle your feet for 4 seconds as the shot clock is going down, and chasing a guard through screens for an entire game.

«They run a super methodical motion offense that runs through a ton of screens before taking a shot.»

Open rates of newsletters, click through rates, Facebook post reach, a screen shot of their last months analytics, for example.

I like to take a screen shot of each mobile boarding pass so I can easily swipe through each ticket image for the TSA agent to scan rather than pulling them individually, hoping that cell service holds.

New York City students will go through random security screenings and a refresher on how to handle violent threats after the Florida shooting, de Blasio said.

A screen shot of the new Office of General Services web portal through which state workers will be able to manage their requests for downtown parking.

Australian researchers have developed a method for screening embryos created through in vitro fertilization (IVF) to select the ones that have the best shot of developing into healthy babies.

Pulses of these anti-atoms shot horizontally through two grids of slits will create a fine pattern of impact and shadow on a detector screen.

So, amid the images that pop up on the laptop screen, the research team has included shots that show Rocky running through the streets of Philadelphia, staring longingly at his girlfriend, Adrian, and draped in the American flag after defeating his Soviet rival.

I don't know how, because when I flicked through their complete catalogue online a couple weeks later it was an instant screen - shot, must - have piece.

We did several painful shoots for each of the other girls, with him eventually taking the mickey out of them through the screen.)

Back in 1968 it must have blown its audience away (I was actually a member of that audience, but I was only five so I don't recall being blown in any direction at all — I just remember liking the monkeys) with its realistic shots of space stations gliding across the screen with a stark, cold beauty as Strauss's Blue Danube blared through the speakers.

Anon uses a lot of first - person points - of - view, allowing the viewer to see through the eyes of the character — shots that involve a wealth of on - screen text.

So, the second half of Blue Valentine, I shot on digital and I did that in a way because I wanted to capture the love that eroded through time and so I would do 45 minute takes to try to get to these moments when the actors would just forget they were on screen.

It also has the occasional imperfection, like a speck that lingers on the screen through several early shots.

From the superimposed crease patterns and dim, degraded image during these shots, I have to assume they were captured by pointing a camera at or through a screen at an actual projection — perhaps of a workprint, which would account for the minor but consistent wear - and - tear on the print itself, as well as its obvious generational distance from the negative.

It's your usual assortment of production anecdotes, but Wynorski is pretty good at screen - specific observation, cluing us in on which shots required the most work behind the scenes — like the tracking shot through the furniture store that forced stagehands to move furniture into place and stay out of frame as the camera rolled backwards through the set.

We've seen sweeping crane shots through swaying wheat fields before on screen in Terrence Malick films and his countless imitators, but not like this.

A stark, brutal, yet tender prison drama starring Jack O'Connell as a violent inmate sent to the same lock - up as his jailbird father (Ben Mendelsohn), the film's shot through with a raw energy and authenticity that's closer to «A Prophet» than to most other British films in the genre, with Mackenzie making the movie feel like he's bottled up a hurricane of tension, which at any second could kick through the screen at you and hit you with a sock full of snooker balls.

Because Evelyn is also pregnant, the impending birth, however carefully prepared for, can not help but shoot a shiver through the screen.

Helmed by veteran TV director Mimi Leder in somehow small - screen - friendly Panavision (that she manages to make her panoramic establishing shots look like the stock transitions in any episode of «Hart to Hart» should be included in a textbook somewhere), the picture goes through the motions — from discovery of the peril by naïfs to the involvement of the Internet to the slow - in - coming participation of the powers that be — of a genre most recently (and faithfully) resurrected by The Day After Tomorrow.

At the beginning, when Belle (Emma Watson) walks out of her house and wanders through the village singing «Belle,» that lovely lyrical meet - the - day ode that mingles optimism with a yearning for something more, the shots and beats are all in place, the spirit is there, you can see within 15 seconds that Emma Watson has the perfect perky soulfulness to bring your dream of Belle to life — and still, the number feels like something out of one of those overly bustling big - screen musicals from the late»60s that helped to bury the studio system.

He allows us to travel graciously through the picture, enriching a methodical and lavish wonder of screen shots.

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.

Ashwin, her camera unmoored from real world physical restraints, accordingly stages, shoots, and edits in creative but always coherent ways — all the better to capture Rajinikanth's uniquely charismatic screen persona, which completely shines through all the flashy techno - digital trappings.

He shoulders the lion's share of responsibility (Burgundy is on - screen in almost every shot), and produces reams of guffaws just through the timbre of his voice or a cockeyed stare.

A funny addition is the narration (which can be turned off, luckily, because it gets a little repetitive after a while); while you are shooting enemies our drilling through planets, a seemingly British man comments on what's happening on your lush Vita screen.

From the appearance of the credit «written and directed by Brian De Palma» overlaid on the sleek outer casing of an Apple MacBook Pro to a shot of a car driving into and destroying a parking - lot Coca - Cola machine, there's a through line of anticorporate humor that juxtaposes the ideas of «art» and «product» — never more so than in an amazing, extended split - screen scene in which footage of a ballet performance competes for our attention with a knowingly clichéd, Halloween - style slasher - on - the - loose set piece.

by Walter Chaw There is a scene about midway through Tim Allen's latest genuinely bad movie in which Allen and his screen family gather for dinner wielding McDonald's food in perfect bags, held in such a way so as not to obscure the golden arches for the duration of the shot.

As the digital revolution has swept through Hollywood like brushfire, Nolan has remained a stalwart champion of shooting on film, and as 3D has increasingly become the blockbuster norm, he has refused to join the bandwagon, advocating instead for IMAX, a variant on the old 70 mm process responsible for the likes of Lawrence of Arabia and 2001, and whose screen - filling images envelop us in a way that only a select few 3D movies (chiefly Avatar and Hugo) have even approached.

The actors are set against completely unconvincing green screen backdrops or walk in long helicopter shots through the snowy mountains (a tableau that will be overly familiar to anyone who's seen a fantasy epic in the last five years (the fact that most of the movie is shot in New Zealand makes the effect more apparent)-RRB-.

Adapting Jules Feiffer's Obie - winning play for the screen, director Alan Arkin (yes, that Alan Arkin) steers Elliott Gould through a metropolis where random shootings are the norm and there's a heavy breather on the end of every phone line.

Includes annotated screen shots to guide students through th...

That's not necessarily a terrible outcome, although it is a lot of work to research, devise, take, resize, compile, annotate and insert screen shots and I'd now be inclined to opt for writing an extra 90 words explaining a step rather than going through the rigmarole of adding illustrations if I were solely considering the KU criteria.

Watch as the game develops through split - screen views and close - up shots worthy of any highlight film, and see if you can catch the numerous over-the-top animations of the large and detailed player models.

-- fast - paced and combo - centric — fighting involves meleeing, kicking and shooting — dodge attacks and activate Witch Time — Torture Attacks return — new Torture Attack featurs a pair of grinders and a fatality — Umbral Climax meter is charged by successful combos — this turns regular attacks into enormous, screen - sized strikes — send enemies flying with giant, floating fists and feet made from hair — still leaves Bayonetta in very revealing \» outfits \» after these attacks — on location is the back of a speeding harrier jet flying through the heart of a congested city — you \'re being chased by other jets and massive, horrific angels — appearance from Jeanne confirmed — features off - TV play — \» Touch \» mode allows players to control Bayonetta using the GamePad \'s touchscreen [Source: Gonintendo]

Through this new feature, comments or screen shots posted on

Full control is offered over the game, with every pass, through ball, tackle and shot left to the player, and accessible through either the analog stick and buttons, or by a new touch - screen control system where players use the stylus to move their players.

These portions of the game are all about travelling from the left to the right of the screen and shooting your way through enemies.

Due to the grid - based, one screen battleground, the stage often becomes a labyrinth as players shoot at enemies, avoid shots, clear blocks to maneuver through, cause chain explosions by shooting at a cluster of explosive red squares, and players must carefully navigate the constantly transforming battleground while defending themselves.

With a reported 5,000 objects on the screen at once, each of the game's levels erupt into gorgeous, firework - like showers - defying gamers to stay focused as they maneuver through torrential storms of a opponent shot.

Gamers can lift and look through the GamePad touch screen to aim the ball on set pieces and penalty kicks, then put the perfect curve on a shot and let it fly.

The big screen take on the globe - trotting adventure game series has gone through a number of different writers and directors» hands over the past several years, prior to Shawn Levy (Real Steel, Stranger Things) signing on to call the shots.

You will be able to save footage and screen grabs from games running at 4K, and scroll through frame by frame to pick out your favorite shots.