Sentences with phrase «visual effects of the lights»

(2) The audio - visual effects of the lights feature are great, but seem to be overwhelming to the baby (and adults as well) with too many lights flickering on and off at the same time and over stimulating the baby.

Not exact matches

Star Wars: The Last Jedi is nominated for a best Visual Effects Oscar, and perhaps as part of their campaign for the award, Industrial Light and Magic (they produce all the special effects for Star Wars) has released some YouTube clips of how they were able to computerize some of the movie's most impressive set pieces, including that opening space battle with the bombing run.

However, the use of coherent light sources introduces annoying visual phenomenon, namely speckle noise, an intrinsic interference effect due to the laser.

Physics In Vogue is a photography exhibition that aims to shed light on profound contemporary physics discoveries by combining fashion photography, laboratory grade optical effects and scientific accuracy to create visual representations of complex science.

A graduate of CalArts, Maschwitz spent four years creating visual effects at Industrial Light & Magic before co-founding the legendary effects firm The Orphanage in 1999.

Industrial Light and Magic has been tackling a bulk of the Marvel cinematic universe's visual effects, but from time - to - time New Zealand's Weta Digital (Hobbit, Avatar, District 9, Planet of The Apes) will get involved.

The dark, imposing visual effects of the daunting relationship between Max and Jacob is intriguingly highlighted through cinematographer Ed Wild's ominous and skillful use of lighting and colors.

Read a recent roundtable with Industrial Light & Magic (ILM) visual effects supervisor Bill George, who oversaw the creation of the special effects in this year's Touchstone Pictures sci - fi action film «I Am Number Four.»

From the lighting effects to the distant mountain ranges to the game's sense of speed, the visuals in Forza Horizon add a great deal to the enjoyment found in merely driving around the festival grounds and even more to the racing.

Two «Visual Effects Scene Deconstructions» allow you to see short effects - heavy set pieces (tunnel scene and the Edgar climax) in various stages of completion: storyboards, bluescreen shoot, bluescreen composite, lighting & animation, and the final cut.

Industrial Light and Magic (ILM) the visual effects studio created the blue screen effects of Toontown.

There are times FlatOut 4 is quite handsome — some of the lighting effects are fantastic, particularly when the sun is low — but overall it's a few car lengths behind current visual kingpins of the racing sector.

«This is a movie that is totally dependent on the huge visual effects, on the colors, on the lights — and all of those things can be fully seen in Dolby Vision, which is exciting,» says writer - director James Gunn.

Pope's patience and tedious work with digital cameras to capture the right lighting, color, look, and moving portraits of the vistas are perfectly natural and contain no doctoring of visual effects, further digital enhancements, or matte replacements.

But on a purely cinematic level, Signs confirms Shyamalan as an exceptionally supple and intuitive visual storyteller, evoking fear and dread through insinuating camera movements, subtle sound and lighting effects, and canny use of offscreen space.

Visually, it's comparatively basic, with vector - style visuals making up the walls, player, and enemy graphics, with particle effects used liberally, to create a mesmerising pattern of colours and lights.

«Guillermo's approach is to just show his passion,» says visual effects supervisor John Knoll, the chief creative officer of Industrial Light and Magic.

Industrial Light & Magic's visual effects supervisor John Knoll has been telling stories in the «Star Wars» universe for many years, though typically in segments and pieces, providing some of the prequel saga's most lavish and eye - popping FX.

• A physical world put in motion thanks to brand new hardware architecture» The world has been dynamically brought to life using complex physical world simulation on trees, foliage, cloth, weather, lighting and effects» All texture resolutions have been created at 4x resolution for maximum resolution and detail» In - game characters, enemies and destructability have been enhanced for added depth and realism» Subsurface scattering technology implemented to capture the most physically accurate lighting simulation and deliver a great sense of believability» Native 1080p gameplay gives outstanding visual fidelity and showcases the beauty of Yamatai in all its high definition glory

Camera (Technicolor, Panavision widescreen, Arri Alexa digital), Trent Opaloch; editors, Jeffrey Ford, Matthew Schmidt; music, Henry Jackman; music supervisor, Dave Jordan; production designer, Owen Paterson; supervising art director, Greg Berry; art directors, David E. Scott, Greg Hooper; set decorator, Ronald R. Reiss; costume designer, Judianna Makovsky; sound (Dolby Atmos / Dolby Digital), Manfred Banach; supervising sound editors, Shannon Mills, Daniel Laurie; sound designers, David C. Hughes, Nia Hansen; re-recording mixers, Tom Johnson, Juan Peralta; visual effects supervisor, Dan Deleeuw; head of visual development, Ryan Meinerding; visual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halleyvisual effects supervisor, Dan Deleeuw; head of visual development, Ryan Meinerding; visual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halleyvisual development, Ryan Meinerding; visual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halleyvisual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halleyvisual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah HalleyVisual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halley Finn.

At a recent screening of «Deadpool 2,» the audience didn't get up when the end credits came up, patiently sitting through the scrolling names of visual effects supervisors and lighting specialists.

The return of the Millennium Falcon and the familiar sight of dogfighting TIE Fighters and X-Wings also ares sure to bring tears to even the hardest - core fans» eyes — especially as those ships sweep, zoom and swerve like never before via some excellent visual effects work from Industrial Light & Magic and company.

The prologue is a visual mess of strobe lights and filter effects (A party montage is joylessly similar, using various camera speeds), and when Carrie Anne is on the loose, Tonderai offers only cheap, anticlimactic startle moments (The most ridiculous one eyes a couple making out in a car as Carrie Anne makes her way toward them).

EDIT BAYS: A dimly lit room with one large screen and plenty of seating around it, where Thor: Ragnarok director Taika Waititi is on hand to edit visual effects.

Whether through make - up, costume, lighting, post-production visual effects manipulation, and / or a radical workout and diet by all involved, the actors look like they actually belong in the dystopian world of Collins's imagination.

The visual difference between the two Xbox platforms is apparent in its resolution, quality of lighting effects and depth of field on Big Boss in the foreground.

Aside from a few poorly - rendered effects and questionable cinematography that sometimes gets the lighting all wrong, the film has a strong visual presence that is reminiscent of the majestically spooky appearance of a Tim Burton film (perhaps he should have helmed this project instead).

Students are asked to create a visual - heavy, text - light timeline that illustrates the factors, characteristics and effects of conflict in the Arab World.

The special design of the SLS AMG GT FINAL EDITION ensures that it stands out in visual terms: the carbon fibre - effect bonnet with central air outlet, the carbon - fibre front splitter on the front apron, the fixed carbon - fibre rear aerofoil that is so reminiscent of the SLS AMG Coupé Black Series and the exclusive AMG forged light - alloy wheels make it a real head - turner.

Audi drive select, Audi parking system plus with front and rear sensors, Audible and visual fasten seat belt warning - front and rear, Colour driver's information system display,Electro - mechanical PAS, Hill hold assist, MMI navigation plus with MMI touch, Mobile telephone preparation, RS instrument dials, Service interval indicator, Audi music interface, Auxiliary input socket, DAB digital radio module, MMI Radio plus with CD player and bluetooth interface, USB connection, Auto dimming rear view mirror, Automatic headlights + automatic windscreen wipers, Body colour bumpers, Body colour roof spoiler, Electric folding / heated / auto dimming door mirrors with memory function, Electric front / rear windows, Headlight washers, LED daytime running lights, LED Matrix headlights with high beam assist, LED rear lights, Privacy glass (to rear of B post), RS design body styling, Titanium effect window surrounds, Titanium front grille, Titanium look front spoiler, Twin oval high gloss black exhaust tail pipes, 12 way electric front seats with driver's memory function, 4 way electric lumbar support, 4 zone climate control, Aluminium door sill trims, AlumInium look pedals and driver's footrest, Electric adjustable steering column with memory, Front centre armrest, Front head restraints, Isofix front passenger and rear seat preparation, Jack and tool kit, Luggage compartment cover, Rear headrests, Split folding rear seat, Ambient lighting pack - RS6, Storage pack - A6, 3 point seatbelts on all seats, ABS / EBD, ASR traction control, Curtain airbags, Driver and passenger airbags, Driver / front passenger side airbags, Electromechanical parking brake, Electronic stability control, Front passenger airbag deactivation, High performance braking system, Rest recommendation system, Tyre pressure monitoring system, Warning triangle and first aid kit, Anti theft alarm,Anti - theft wheel bolts, Immobiliser, Keyless Start, Preparation for tracking system, Remote central locking, Quattro sports differential, Tyre mobility system, Reversing camera, Head - up display, Gloss Black Styling Package including air intake duct with quattro logo, Assistance Pack, Parking Pack, Black Styling Pack, Audi pre sense plus, Park assist, Audi Side Assist and Audi Lane Assist, Adaptive cruise control, 8 cylinder 4.0 BiTFSI 605 PS engine, MMI Navigation Plus including MMI Touch, Valcona leather / Alcantara quilted honeycomb, Ambient Lighting Pack, RS 3 - spoke flat - bottomed leather multi-function steering wheel - with gear - shift paddles in aluminium - look, contrast stitclighting pack - RS6, Storage pack - A6, 3 point seatbelts on all seats, ABS / EBD, ASR traction control, Curtain airbags, Driver and passenger airbags, Driver / front passenger side airbags, Electromechanical parking brake, Electronic stability control, Front passenger airbag deactivation, High performance braking system, Rest recommendation system, Tyre pressure monitoring system, Warning triangle and first aid kit, Anti theft alarm,Anti - theft wheel bolts, Immobiliser, Keyless Start, Preparation for tracking system, Remote central locking, Quattro sports differential, Tyre mobility system, Reversing camera, Head - up display, Gloss Black Styling Package including air intake duct with quattro logo, Assistance Pack, Parking Pack, Black Styling Pack, Audi pre sense plus, Park assist, Audi Side Assist and Audi Lane Assist, Adaptive cruise control, 8 cylinder 4.0 BiTFSI 605 PS engine, MMI Navigation Plus including MMI Touch, Valcona leather / Alcantara quilted honeycomb, Ambient Lighting Pack, RS 3 - spoke flat - bottomed leather multi-function steering wheel - with gear - shift paddles in aluminium - look, contrast stitcLighting Pack, RS 3 - spoke flat - bottomed leather multi-function steering wheel - with gear - shift paddles in aluminium - look, contrast stitching and

The fan door doesn't do much, other than create an interesting visual effect, thanks to the Velocity Micro logo design and the blue LED that shines through it — a refreshingly tasteful use of case lighting.

Please be advised that the use of visual stimuli, including flashing lights or patterns, theatrical fog, and lighting effects along with loud music are in use on this property.

Photosensitivity warning: Please be advised that the use of visual stimuli, including flashing lights or patterns, theatrical fog, and lighting effects along with loud music are in use on this property.

A graduate of CalArts, Maschwitz spent four years creating visual effects at Industrial Light & Magic before co-founding the legendary effects firm The Orphanage in 1999.

Not only does it rival consoles in terms of visual effects, delivering incredible translucency, lighting and shadows, but it also has faster performance than a the PS3 and Xbox 360 already.

The Milestone team has been able to reach incredible enhancements in terms of visual quality: lighting effects on tracks and bikes has become more realistic than ever, recreating all light reflections down to the smallest details.

This title marks the arrival of the series on the Unreal Engine, a leap forward in terms of technological innovation, ensuring incredible enhancements in the visual quality, realistic and impressive lighting effects and completely reworked physics: thanks to a realistic physics simulation, the game faithfully reproduces all the distinctive behavior of the bikes, thereby reducing the gap between fiction and reality, while making it accessible also to casual gamers through the introduction of riding aids and tutorials.

This Game Of The Year Edition will feature various upgrades of the original, from new and realistic lighting effects, to new visual effects, and new voice actorOf The Year Edition will feature various upgrades of the original, from new and realistic lighting effects, to new visual effects, and new voice actorof the original, from new and realistic lighting effects, to new visual effects, and new voice actors.

In the Hellblade demonstration, every nuance of the digital character's facial expressions, lighting, visual effects and sets are visible in real time to final render quality.

Going along with this are the luminous visuals, which play with different lighting and color effects throughout all of the game's campaign environments and multiplayer maps.

20 Challenge runs 450 + items, including 160 new unlockables Uber secrets 10 Playable Characters 100 + enemies with new designs Over 50 bosses, including tons of new and rare bosses Mystic Runes Upgradeable shops Integrated controller support for popular control pads Analog directional movement and speed Tons of feature film quality animated endings Over 100 specialized seeds 2 - Player local co-op Over 100 co-op characters Dynamic lighting, visual effects, and art direction All - new game engine @ 60 FPS 24/7 All - new soundtrack and sound design Multiple Save slots A bunch of achievements

Well I think graphics make that big leap - in terms of 3D mesh, texture resolution, lighting effects, AI etc. - in each generation of consoles as it raises the baseline for visuals.

Improving the character models, environment textures and the lighting effects could easily make this a standout game for the Switch in terms of visuals.

Another gripe I have with the visuals of the game is the over the top lighting effects that are used and the sun lighting when it is prominent, is a little too much and can get very distracting as it seems to shine a little too bright in some parts, especially when the sun is rising or setting.

In my posts I'll be talking about my process in the development of shaders or materials, creating visual effects, or lighting a scene.

Upon loading Shadow of War, a game I originally reviewed on the standard Xbox One, I was immediately blown away by the difference that the Enhanced Patch has made as textures, crispness of visuals and lighting effects leap out of the screen with fantastic vibrancy and sharpness of detail.

These updates to the games have added vastly improved graphics, new sounds, lighting, and visual effects, as well as a whole host of other things.

The light bar could have produced an increasingly darker tone of red as a threatening situation looms to work in harmony with the visual effect of the HUD during such occurrences, while the DualShock 4 controller could have vibrated during any bumps, scrapes, heavy landings or when being attacked by walkers or bandits.

The lack of any light bar and vibration implementation is quite surprising as the light bar could have produced an increasingly darker tone of red as a threatening situation looms to work in harmony with the visual effect of the HUD during such occurrences, while the DualShock 4 controller could have vibrated during any bumps and scrapes or perhaps even specifically the nightmarish hallucinations that Michonne endures along the way as well as the impact from the usage of any weapons such as her sword or a nearby object here and there to fend off walkers.

With a respectable draw distance and lighting effects from both the sun and the moon that helped accentuate the beauty of Georgia, I was regularly struck by this game's visual appeal.