Sentences with phrase «what kind of scene»

The P2 does have a smart detection tool, however, which automatically figures out what kind of scene you're shooting and adapts settings to help make the image look better.

On board AI allows the phone to process photos on the fly, resulting in magnificent pictures based on what kind of scene the AI detects.

Some very interesting, albeit small portion of information about what kind of scene to expect in Rising.

There's nothing like standing up in front of an expectant audience when you have no script and no idea what kind of scene you're about to play to put the fear of making a pitch or cold call into perspective.

Dragon Quest XI Producer Hokuto Okamoto explained what kind of scenes will receive English voice acting, and why Square Enix decided to add it.

Not exact matches

And the Doctor runs through what kind of man he could be in a jocular way — a fighter, a lover (winks at Rose), etc. and then ends the scene by launching that guy off the ship into the air for a murderous fall to earth: «No second chances — I'm that kind of man.»

No one really seems to know what is brewing behind the scenes at Toronto FC, though the consensus seems to be that the signing of some kind of creative midfield player is the club's offseason priority.

And information about what kinds of paints were used, which is now being compiled with the new data, will tell him about the painter's palette and whether it was a daytime or nighttime scene — information that «will be key to [help] figure out who painted it and when,» he says.

these two cities have an incredible food scene and prices are very affordable comparing to what I'm usually paying in Helsinki for the same kind of meal.

Yesterday I read an awesome post on a little «behind the scenes» of what it looks like outside the camera's lens and I kind of loved it.

«I kind of think that it's part of what makes the online dating scene so appealing.

The production spent time creating scenes for a trailer they had no intention of ever being in the finished film, scenes that badly characterized what kind of movie it would be.

It's kind of hard to know where to begin with what's wrong in Traffik, a movie where every scene takes about twice as long as it feels like it should, and the characters far too often make an escalating series of implausible and / or stupid decisions.

McCarthy plays that kind of scene with enough style, confidence and wit to pitch the jokes past the straight men, and the film is an example of her doing what she does best.

The first scene in the film kind of gives the ending away and leaves you expecting it, but in a way that is a good thing considering what this film has in store.

«And rather than focus on the script and the scenes directly, we fleshed out the relationship the characters had prior to this momentary snapshot that you get of them in the movie: what they experienced together, how they kind of grew apart.»

It's the kind of movie you want to rewatch just to see what you can find hidden in each scene, to examine closer all the nuances and details about their quiet life.

It's a film which does just enough to make you believe that what you're watching is a real, human story, but with every scene, plants the seed of doubt as to whether Elle is some kind of psychic projection or the physical manifestation of a damaged mind.

Your scene with Oscar in the grocery store goes a long way in showing what kind of a guy Oscar was.

What especially resonated was the way the film's central quarry scene leaves you disoriented, untethered, in a kind of free fall.

In that first scene, Joel and Molly explaining how they met, Wain, and co-writer Michael Showalter, make it perfectly clear what kind of movie you are about to watch.

Now for the added footage: If you intend to watch it incorporated into the body of the film (an «X-Men» emblem burn - in signals a new scene and shortly thereafter triggers a search pause), be warned that it is non-anamorphic, requiring God knows what kind of adjustments to a widescreen television.

«Sherlock Holmes» may not be the kind of movie you'd expect from Guy Ritchie, but even though a lot of his trademark style is absent, his touch is still very evident — particularly in scenes where he slows down the action to explain in detail what's happening (like Holmes» first two fights) before going back to show it again in real time.

Sexual Predator is a giant shrug of a bad idea of a film, a «what the heck, let's get drunk» kind of movie in which plot is abandoned almost instantly in favour of gratuitous sex scenes and inexplicable trips to the local hoochie - coochie sex club.

Then we come to a deleted scenes reel (9:47), which starts with flashy alternate opening titles and proceeds to include an extended Stephen and Lana argument, a teenaged Stephen breaking into his father's house, adult Stephen opening up to what sounds like a therapist but ends up being a kinky lover, getting whipped by another lady we can assume is a prostitute, and boxing in some kind of dreamlike bit.

Perhaps it was because many of the scenes take place in the dark, but I found the sound very affecting in those moments, especially in creating a kind of dread at moments where you don't know what's about to happen.

(It's worth noting that prominent layer change / abrupt scene change kind of kills what could be one of the film's funnier moments, an airport exchange with TSA.)

Aside from those moments, «The Forger» is the kind of instantly forgettable drag that will include a scene in which the characters are watching a movie on TV («D.O.A.» in this case) and when it is about to cut to something else, most audience members will think to themselves «I'll watch what they're watching.»

From the very first scene of the stupefyingly shallow, but highly energetic b - movie, Crank, suspension of disbelief is an absolute must — I mean, what kind of hit man would actually leave video evidence of a murder at the scene of the crime, or give the intended victim a window of opportunity to exact revenge on him?

Also, the fact that this is a Tom Cruise film robs the action scenes of suspense because we know that no matter what kind of peril hes in, hes not going to die.

I have seen firsthand what kind of noise Evertonians create — it will be perfect for the scene.»

The one - liners are nice and forced during the opening scene where these two prove what kind of officers they are.

It's the kind of scene where you can feel the filmmakers realizing exactly what they can do with the ingredients at their disposal, liked winning Chopped contestants.

I had this idea of, what if I could reverse engineer a movie so when that scene happens, it's kind of funny, but also she's selling out everyone you just got to know?

There's the scene where the Countess asks Maud what kind of painter she is, and says there are only three kinds:» Those who paint what they want to see, those who paint what they feel they see, and those who paint what they think about what they see.

Author Helena S. Paige (actually a pseudonym for three writers: Helen Moffett, Sarah Lotz and Paige Nick) opens the book with you getting ready to meet a friend at a bar — your first choice will be what kind of undies you'll put on (which reminded me of the «absolutely enormous» knickers scene from Bridget Jones's Diary).

What Jeremy begins to discover is unnerving: short black - and - white scenes of hooded people in some kind of barn spliced onto the tapes, some of them frightened.

To create a powerful emotional experience and also give the player a lot of freedom is kind of challenging and so what we wanted to do was not try to recreate the film scene for scene, but try to recreate the life that these guys are living.

From what I have seen to far of Silent Hill 2, the kinds of images and scenes in the game appear graphically intense, often macabre, even violent in nature.

As I walked behind the house, the music got weird, red and pink particles were flying all over the place, I had no idea what was going on... Honestly, I thought it might have been some kind of dramatic story scene, and I was ruining it by going behind the house.

The number one thing that annoys me the most about this game above all else though, is the meaningless backtracking without getting any kind of reward from it all, and just to top it all off, you'll end up going through various different areas of the field map, which are all surrounded by monsters, you finish the mission that you set out for, sit through a long cut - scene, but guess what happens next?

Also, its open - world setting seemed at odds with the naturally enclosed nature of a scripted action scene; what kind of game did Rise of the Tomb Raider want to be?

It doesn't seem like anyone on set was ever sure what kind of future this would be, either — in one scene, two extras are seen arguing for access to an oxygen dispenser — despite everyone in the movie breathing freely without any hassle.

And indeed, thanks to the course designs and those goofy intermission stills (there are plenty of them, and I «enjoyed» seeing what kind of silly scene would pop up with each new achievement), Special is my favorite Circus episode.

Robert Storr: What was your relationship to the kind of painting that was being done when you entered the scene in the 1950s — to use Greenberg's term, «American - type painting,» by which he meant a certain kind of reach, a certain scale?

Over the following years, these included presentations by artists such as Matthew Barney and Elizabeth Peyton, as well as curators like Catherine David and Okwui Enwezor, giving informal takes on practice and theory and the goings - on in the contemporary art scene: what Eccles calls ««what's - on - your - mind» kind of talks.»

I guess with your cartoons it's just close enough to making sense but then the mind fails to grip it, at least at first, then you are kind of pulled deeper by the curiosity of trying to understand what the scene is about.

What kind of role do you hope to play in your local art scene or community?

But what stands out for me are the stories behind the story, the kind of color and perspective that only on - the - scene reporters who also happen to be talented writers can provide.

In my experience, scene detection worked almost flawlessly, though it's hard to say what kind of impact it had on the resulting photos.