Sentences with phrase «used color film»

The final image was created using a large format camera that uses color film measuring 4x5 inches.»

Not exact matches

With film, I typically use provia 400x e6 for color, and kodak 3200 b / w - then scan whatever I want to use (if it is going to print / book project), sometimes I'm lazy and just use the low - res scans I get from the lab if a shot is going to go online.

Used in television shows and films, this area is filled with waterfalls, luscious green jungles, a vast array of colored flowers, and stunning wildlife.

The process uses a PVA film with printed color patterns placed on top of water.

Working with researchers at Zhejiang University in China, Changxi Zheng, assistant professor of computer science at Columbia Engineering, has developed a technique that enables hydrographic printing, a widely used industrial method for transferring color inks on a thin film to the surface of manufactured 3D objects, to color these surfaces with the most precise alignment ever attained.

Or these kinds of films could also be used to make color - changing skins for soft robots, Shang says.

Matt used an autoguided Astro - Physics 130 EDF f / 6.7 refractor to obtain this color photograph, a 90 - minutes exposure on hypered Kodak PPF 400 film.

... why not reinvent some of her looks from the film for today with a touch of color using my Color Design Matte Lip Crayocolor using my Color Design Matte Lip CrayoColor Design Matte Lip Crayons...

Commentary 3 — The Picture - Director of Photography Darius Khondji, Prodcution Designer Arthur Max, Editor Richard Francis - Bruce, Richard Dyer and David Fincher talk about the look of the film itself, the color processes used on the print, the locations scouted for the various shots, the detail used in the studio backlot constructions, the style David wanted to achieve and succeeded in doing, the clothing, the grittiness, the absolute black Fincher always wanted in Alien 3 but could achieve until now and more.

This home - video presentation of Coco is an expectedly flawless showcase for the film's impressive use of color and lighting.

The art direction and custom department used color and period garb as a living, breathing character and used this element to bring power and depth to the film.

Aesthetically, the film finds Bertolucci in a transitory mode, caught between his early Godard - influenced abstraction and his later style of lush, operatic camera movements and theatrical use of color and music.

Gangster Squad's time setting allows a rather gritty film to be bombastic in its use of color and production design.

Published quarterly, the issues are based on «symposiums,» which center on filmmakers or themes that reflect current events or are hitched to particular approaches to film, such as close readings of the use of color.

The film is also a bit murky from a visual standpoint, perhaps due to the digital camera work in lighting that intentionally uses the actual lighting of the room rather than staged, and the colors and textures are especially muted during scenes filmed indoors.

Their usual cinematographer, Roger Deakins, shot the film in color — they were contractually obligated to have a color version for overseas use — and then printed it on black and white stock, and the result is a deep, rich interplay between light and dark.

In true Anderson fashion, everything about this film feels organic, from the production design to the use of colors and costumes.

Making a gritty film noir - style movie as an animated feature makes for a visually interesting experience; the animation uses striking colors, and the backgrounds are beautifully detailed while the characters are very simply designed, creating a unique contrast.

Black and white in 1967 was very rare, but for this film it works for an added effect that would later be used by Scorsese in raging Bull and Spielberg in Schindler's List.There is no color because this life is colorless.

It only makes last year's masterpiece Far from Heaven look that much better; writer / director Todd Haynes took another late 50s / early 60s film formula and used the colors and the feel of a Douglas Sirk movie to make a comment about films and about ourselves.

«Melville uses music minimally, deploys natural sounds like a virtuoso, and, along with cinematographer Henri Decaë, evokes vibrant color with a restricted palette,» writes critic Michael Sragow in his liner essay for our edition of the film.

Despite cinematographer Shelly Johnson's admirable attempts to ape Janusz Kaminski's lighting style — covered up by the color grading, which A.V. Club contributor Adam Nayman likened to camouflage meant to hide the fact that anyone had put any effort into this movie — this basically looks and moves like an over-heated fan film, and Montiel's tin - eared use of country music doesn't make it seem any less amateurish.

The film was critically acclaimed and was recognized for its largely black and white color scheme which featured intermittent colored objects, akin to the same techniques used by Steven Spielberg in Schindler's List.

Murphy, using a script he co-wrote with Stephen Volk, illustrates the action behind photographer Eduard Grau's unfortunate and unnecessary filming in desaturated color.

The film is handsomely mounted and Lewin uses an interesting cinematic device to great effect: he cuts to full color when the new portrait is first unveiled and when the aged, diseased image of Dorian is revealed after his descent into depravity, which provides a visual shock to the black and white drama and enhances to horror of the grotesque mutation of the painting.

Walt Disney Studios Home Entertainment promises 1941's «Dumbo» has been restored to the color settings most likely approved by Walt Disney himself, using prints held by the Library of Congress (nitrate camera negative) and the film Academy (dye - transfer Technicolor).

It's hard to tell if it was a function of the digital camera — or the online screener on which the film was made available to us — but the sections of the film where cinematographer Ryan Samul uses a warm color scheme have so many artifacts they look positively out - of - focus.

Plus, watch a video essay breaking down how director Denis Villeneuve uses color on film, and see how the opening crawl for Star Wars: Episode 9 can fix the supposed missteps of Star Wars: The Last Jedi for dissatisfied fans.

But especially given that, according to my friends who are its fans, Scott Pilgrim the comic is a story that tries to combat much of the misogyny that underlies Scott Pilgrim the film and other works of its ilk, it's a shame that this is the best Edgar Wright could come up with — a film that uses flashing lights and bright colors to distract its viewers from the unpleasantness at its core.

And del Toro even brings this bold use of color into the film's ghosts and ghouls.

«Welcome to Sherwood: The Story of The Adventures of Robin Hood» is an excellent making - of documentary that literally covers everything, using rare film clips from early Robin Hood versions, and fascinating outtake and 16 mm color / black & white behind - the - scenes footage (archived separately as well, with good commentary from Behlmer).

Known for predominantly using natural settings in their films, Ghibli again doesn't disappoint in using the available palette of colors to create a visual treat for its audience, and the picture on this DVD does it justice.

Both films share many motifs and themes as well as other elements, such as non-linear narrative structure, the extensive use of the color red, and interpretations of vintage songs.

The use of light and shadow and red and green colors on the character's faces are reminiscent of Japanese horror films and the Kabuki Theater.

Columbia has mastered this gorgeous, widescreen color film in their Superbit format, which uses more disc space for the picture and sound and less for the extras.

Some of the tributes to the almost 75 year old original film include a gingham dress, the witches crystal ball, a bunch of singing munchkins, the wicked witch's cackle, horses of a different color, fire balls, the poppy field, crows of caution, Glinda's bubble, creepy wicked green skin, a lion and creative use of scarecrows.

The team can depict the city as one big playground for the pets in the film while using vibrant colors to illuminate the cityscapes.

Bertolucci's production is sweeping and lavish — this was the first foreign production granted access to film within the walls of the Forbidden City — and cinematographer Vittorio Storaro uses color like a painter on an epic canvas.

BOBBY FARRELLY: We rely a lot too on our production designer and our wardrobe people and just the colors that they use that it would harken you back to the first film.

Additionally, DP's Matt Flannery and Dimas Imam Subhono use of color and contrast manage to make the film's extreme violence look and feel more artful than a hammer ripping someone's throat out has any right to be.

The film lacks the expected bleak, washed out look of the genre and the use of vibrant colors further makes it stand out.

An amazing film, from the battle scenes ripped off by Spielberg in Saving Private Ryan, to the Noh influences in make - up, costume and acting, the brilliant use of color, and the terrific, non-method acting, especially by Nakadai and Mieko Harada, who as a combination Lady MacBeth, Edmund character is one of the great movie villains of the 80s.

The iconography most commonly associated with Jean Renoir's The River (1951) can be linked, in most cases, not only to the film's startling use of color, location, and exotic capability, but also to the immense difficulty of its production in the late forties.

After converting the actual trailer into an audio film, I used Final Cut Pro to edit it and really only needed to make a few simple color corrections before I was totally done.

The color footage used in the film is primarily of Auschwitz in 1955, coming off as a ghost town of ghastliness; the older, black - and - white scenes are the ones inspiring anger and revulsion, showing in rapid succession the rise of the Third Reich, the building of the camps, and the atrocities committed therein.

I mean that literally and figuratively, because Allen and Vittorio Storaro use light and color in a way that is stunning in and of itself but also integral to the mounting emotional power of the film.

It's actually a lament for another lost American value replaced by digital second - rateness, this time the cherished Kodachrome color film process by which photography used to look 100 times better than it does now.

The duo talk about everything from Donald and Stephen Glover's contributions to the film to using color as a theme to reinforce character.

It's interesting to note how sterile lighting and muted colors are used when the film showcases the surgeon beginnings of Strange's life, since that look quickly devolves into a golden hue once the film's mysticism is introduced.

Additionally, his use of color is very unique and pure joy for any film lover.