Sentences with phrase «time cinematography»

DmC: Devil May Cry and Hellblade developer Ninja Theory has announced a spin - off arm focused on real - time cinematography technology and services.

Utilising pioneering real - time cinematography, Melina drove the in - game character's performance in real - time via high - end performance capture technology.

Real - time cinematography brings together motion capture data, powerful rendering and collaborative editing — all within Unreal Engine 4.

«Now, our hope is that artists and technicians are empowered to employ these technologies and techniques to usher in a whole new generation of real - time cinematography that will take interactive entertainment and storytelling to a level of efficiency and quality that has never been achieved before.»

Not exact matches

You might not have seen anything he's ever created but you're watching something he's created now and you're seeing his sense of timing, framing, lighting, cinematography, the sentiment, concepts and whether you understand filmmaking or not you can buy into what it is he's doing.

Instead of rendering a static picture like other such maps, LSST will capture the sky in motion, a kind of time - lapse cinematography of the cosmos.

One notable exception is the cinematography which is beautiful at times.

Some beautiful cinematography distracts from the dramatic inadequacies, but it's not the best product of its time.

With its deliberate pace and excellent cinematography, «The Duel» is an evocative movie that bottles one point in time, allowing us to observe it at our leisure.

The sharp screenplay penned in part by Deadpool himself (Ryan Reynolds) never ceases its wit, and the comedic timing throughout is perfectly bolstered by the fast - paced cinematography and polished CGI that convincingly depicts interesting locations and frenetic action scenes.

Compelling cinematography captures the essences of the hard times people

Languid yet lush cinematography where nearly almost every scene is bathed in a type of eerie silence that seems coiled to burst with violence at almost any time.

«Contest» more than makes up for some first - time - filmmaker shortcomings with its sincerity and unexpected strengths in the storyline and cinematography.

It's too bad how basic and misguided Traffik is, considering that Dante Spinotti's cinematography is genuinely haunting and claustrophobic at times.

The cinematography and location shooting are excellent and things look great, the music is decent, and this is one of those films that was made at a time when you could still make them like this and not have to worry about too much tinkering and interference.

At times, Blood, feels like a slightly - filled - out television police procedural with better cinematography, but the performances have an almost Shakespearean grandeur.

While watching Game Night in a packed theater, I spent my time both laughing and applauding the cinematography.

The cinematography I have to say is quite pedestrian most of the time.

The choreography, cinematography, direction, and performances of this film really added some nice flare to this film, but at the same time, it had a huge flaw that dragged me too much that I actually have difficulties seeing this movie and it has to do with the story.

The action sequences are cut in a frantic, incoherent fashion (which is a shame, since Daniel Pearl's steel - gray cinematography is actually quite lovely at times).

Noirish, erotic, chaotic and intense, Bad Timing grows in complexity and emotional power as it progresses, with a wonderful soundtrack and some exceptional cinematography.

The cinematography here is spectacular largely because Waititi has taken the time to allow his nations of visual artists to give their CGI and practical effects the same kind of weight and substance.

Production design from Stephanie Hamilton is another highlight, and the film feels pulled directly out of a very specific time and place; Jeremy Rouse's cinematography is gorgeous without being at all showy.

His hand gestures, perfectly timed pauses between dialogues and even his impatient attitude does not allow you take your eyes away from him, even though the cinematography in these scenes by Javier Aguirresarobe, is beyond stunning.

Reviewed by Damien Straker on the 9th of March 2018 Roadshow presents a film by John Francis Daley and Jonathan Goldstein Produced by John Davis, Jason Bateman, John Fox and James Garavente Written by Mark Perez Starring Jason Bateman, Rachel McAdams, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Michael C. Hall and Kyle Chandler Music by Cliff Martinez Cinematography Barry Peterson Edited by Jamie Gross, Gregory Plotkin and David Egan Running Time: 100 minutes Rating: MA15 + Release Date: the 22nd of February 2018

With a perfect script by Ernest Lehman, stunning cinematography by Robert Burks, and a serious contender for the best Bernard Hermann score of all time, this is the perfect instance of Hitchcock having as much fun as he ever had.

I saw RIP TIDE (Aussie strictly Disney flick, cute for tweets but that's about it), Argento's DEEP RED (for the first time and on the big screen - was a gooey delight tripped up by the usual giallo issues), VICTORIA & ABDUL (odious and blandly crafted), and FIRST THEY KILLED MY FATHER (thankfully on the big screen since Anthony Dod Mantle's cinematography deserves it - the film is strong, even if Jolie is definitely not a subtle director).

Both focus more on visually stunning cinematography and spend more time observing rather than offering a typical narrative.

Reviewed by Tim Cooper on the 18th of March 2018 Roadshow presents a film by Roar Uthaug Produced by Graham King Screenplay by Geneva Robertson - Dworet and Alastair Siddons Starring Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu and Kristin Scott Thomas Music by Junkie XL Cinematography George Richmond Edited by Stuart Baird and Michael Tronick Running Time: 118 minutes Rating: M Release Date: the 15th March 2018

There's an elegant fresco quality to Leo Tover's cinematography — whenever I paused Twilight Time's recent Blu - ray release of the film I could practically make out the cracks in the plaster.

Jordan Cronenweth's cinematography is gorgeous, and Twilight Time's transfer exhibits a crispness and gritty framing in all its glory.

Often times, the well - shot and well - constructed picture (which features some of the best cinematography of any film so far this year; the soundtrack and score is equally ace) just tries to say it all at once, posing questions about whether that grass is actually greener, or whether it grows verdant only after we've shat all over it.

Once again, the cinematography — handled this time by Eduardo Serra (The Girl Cut in Two), replacing the brilliant Bruno Delbonnel (Amélie), who chose not to return for fear of simply repeating past successes — is handsome enough to warrant Oscar consideration.

Directed by Denis Villeneuve (Arrival) and with cinematography by 13 - time Oscar nominee Roger Deakins, every shot is breathtaking.

The few positives, it had some ok to nice cinematography at times (apart from the self indulgent non related stuff) and the parents were ok, if not over the top when they had dialog.

Hall won three Academy Awards for Best Cinematography and was nominated an additional seven times.

Robert Richardson's cinematography is at times breathtaking, especially the snow covered outdoor landscapes.

The intense attention - to - detail, filming only with natural light at the right time of the day (and the cinematography of Emmanuel Lubezki), the amount of work that went into making it, the performances, it's all extraordinary.

Reviewed by Damien Straker on the 27th of January 2018 eOne presents a film by Steven Spielberg Produced by Steven Spielberg, Kristie Macosko Krieger and Amy Pascal Written by Liz Hannah and Josh Singer Starring Meryl Streep, Tom Hanks, Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whitford, Bruce Greenwood and Matthew Rhys Music by John Williams Cinematography Janusz Kamiński Edited by Michael Kahn and Sarah Broshar Running Time: 120 minutes Rating: M Release Date: the 11th of January 2018

The movie, produced by Elizabeth Karlsen and Stephen Woolley in conjunction with BBC Films, seems firmly anchored in that time and place — a lot of which is down to Sean Bobbitt's cinematography and Suzie Davies» production design.

This is the first time actor - turned - writer - turned - director Sarah Polley has run a show, and it's a feat that she's been able to wrangle the locations, cinematography, and her scripts into a polished show that would have probably run on Masterpiece Theater a decade ago.

But the cinematography by Don Davis spends more time trying to showcase the epic feel of the Mojave.

France / Italy, 1953 Director: Jean - Pierre Melville Producer: Jean - Pierre Melville, Paul Temps Cast: Juliette Gréco, Philippe Lemaire, Yvonne Sanson, Irene Galter Screenwriter: Jacques Deval Cinematography: Henri Alekan Music: Bernard Peiffer Genre: Drama Black & White Aspect Ratio: 1.37:1 Language: French with English subtitles Running Time: 104 minutes

France, 1956 Director: Jean - Pierre Melville Producer: Jean - Pierre Melville, Serge Silberman Cast: Roger Duchesne, Isabelle Corey, Daniel Cauchy Screenwriter: Jean - Pierre Melville, Auguste Le Breton Cinematography: Maurice Blettery, Henri Decaë Music: Eddie Barclay, Jo Boyer Genre: Drama, Crime Black & White Aspect Ratio: 1.37:1 Language: French with English subtitles Running Time: 98 minutes

«I'd seen the film four or five times before I noticed the story,» confessed Peter Bogdanovich to Welles, explaining it was the direction and cinematography that blew him away.

As long - time fans of Alfonso Cuarón, it's truly thrilling to see the «Children Of Men» director granted the kind of absolute freedom he has here, both in terms of budget and for his camera, Emmanuel Lubezki «s extraordinary cinematography floating untethered, giving what feels like the closest simulation of actually being in space that you could ask for.

Yet, at other times, the cinematography and score seem to delve into the realm of thriller, heightening the tension through quick cuts and dramatic music cues.

Perfectly framed shots and the magnificent cinematography, made the overall experience something to remember for a long, long time.

Reviewed by Damien Straker on July 1st, 2014 Transmission presents a film by John Michael McDonagh Produced by Chris Clark, Flora Fernandez - Marengo and James Flynn Written by John Michael McDonagh Starring: Brendan Gleeson, Chris O'Dowd, Kelly Reilly, Aidan Gillen and Dylan Moran Music by: Patrick Cassidy Cinematography: Larry Smith Edited by: Chris Gill Running Time: 100 minutes Rating: MA15 + Release Date: July 3rd, 2014

Reviewed by Damien Straker on the 1st of February 2018 Roadshow presents a film by Craig Gillespie Produced by Tom Ackerley, Margot Robbie, Steven Rogers and Bryan Unkeless Written by Steven Rogers Starring Margot Robbie, Sebastian Stan, Allison Janney, Julianne Nicholson, Bobby Cannavale and Paul Walter Hauser Music by Peter Nashel Cinematography Nicolas Karakatsanis Edited by Tatiana S. Riegel Running Time: 119 minutes Rating: MA15 + Release Date: the 25th of January 2018