Sentences with phrase «which footage shot»

The exhibition takes its point of departure in the artist's 1992 breakthrough work Oo Fifi, Five Days in Claude Monet's Garden, Part 1 and Part 2, in which footage shot at the Fondation Claude Monet in Giverny, France, was broken into the primary colors of video (RGB) and partially reconstructed or projected separately.

Not exact matches

And it announced a new spherical camera called Fusion, which can pull out any still or moving image from the spherical footage — a feature called OverCapture that essentially makes it possible to shoot in multiple directions at once and frame your photo or video after you shoot it.

Michael was happy to hear about my projects, and ended up letting me use his studio to shoot some test footage — which allowed me to bring in some AMAZING guests — including the star of ABC's Shark Tank, mega-millionaire Lori Greiner.

A public defender discovered the footage, which was shot in the field in January.

The 10 - minute film, which features a mixture of diary camera footage and interviews with Louise, records the exact moment she shoots a wigeon and captures her immediate reaction.

McManus and his colleague, psychologist Alex Hartigan, also of U.C.L., got their wish in the form of a 90 - minute excerpt of footage shot by early filmmakers Sagar Mitchell and James Kenyon, from which they identified 391 hands waving at the camera.

Mostly shot in black and white, recalling some of the grim footage of the times from which it was made, this is a recounting of one man's quest to save as many of the Polish Jews as possible from the brutal Nazi regime that sought to enslave, and later destroy them.

His cinematographer, Janusz Kaminski, who also shot «Schindler's List,» brings a newsreel feel to a lot of the footage, but that's relatively easy compared to his most important achievement, which is to make everything visually intelligible.

The climax, which involves the Statue of Liberty and Ellis Island, utilizes flawless, set - based duplications of reality (no significant footage was actually shot in or around New York).

The Forbidden Room was shot mostly at the Centre Georges Pompidou in Paris, piecemeal, in front of a live audience, following which Maddin and Johnson artfully distressed the digital footage and added priceless intertitles.

Even now, two and a half decades later, I've learned a lot more about the undertaking from watching «Behind the Ears: The True Story of Roger Rabbit,» a making - of documentary imported from the DVD (and not upgraded to high definition), which includes pre-production test footage and shots of Charles Fleischer (the voice of and on - set stand - in for Roger) performing in a rabbit costume alongside his non-animated costars.

Below, read our Derek Cianfrance interview, in which he discusses with us the themes that tie his body of work together, his dreams of longevity as a director, the 209 hours of footage he shot for The Light Between Oceans, and more.

A new four - minute sneak preview has just surfaced, which is basically a combination of all the previous trailers with a bit of new footage and longer takes of shots that we've seen before.

There are some good «making of» shots here, too, which are just as visually striking as the film's footage itself.

«Welcome to the Arctic» (3:06) shows crew members setting up their remote - operated cameras and reviewing their footage, which included the cover shot of this official companion book.

Pictures have already sprung up online of a building in San Diego with some hefty «zilla - damage and we're hoping for some footage from the movie, which has been shooting for a while now.

In what turned out to be one of the highlights at this year's CinemaCon was the stunning, 10 minute footage from Peter Jackson's new movie, the epic 3D film adaptation of Tolkien's The Hobbit (which opens December 14) that was shot at a frame rate of 48 per second achieving an unprecedented combination of uniformity and brightness.

The key to Cameraperson's triumph is that nothing in the film was created with the knowledge of being used for this purpose, which leaves the footage itself — shot for movies directed by the likes of Laura Poitras, Kirby Dick, Amir Bar - Lev, Gini Reticker, Moore, and many others — uncompromised by manipulation or intentionality.

Then we have «Before and After», which compare raw production footage with final live - action / animation shots.

It's interesting to note that during filming Deakins invented a new type of a combination of lenses, appropriately dubbed «Deakinizers,» which he used to produce the effect of old camera footages in several transitional shots throughout the film.

Joon - young will re-create the original scenes (which Ji - oh shot), while Ji - oh rushes to the editing room to work on the new footage as it becomes available.

J.J. Abrams produced this iconic monster horror, shot as if from found - footage, in which an unidentified gigantic creature lays waste to New York City.

Shot as a faux - documentary focusing on the family, it melds «footage» from 1969 with present - day interviews in which the aged and supposedly wiser cultists appear confused about what exactly happened back in sunny old California that was «groovy» enough to unearth, for a while, the contents of their Jungian basements.

According to various rumors, Wong Kar - Wai is shooting more footage for the picture, which since day one has been through an on - again, off - again production process.

To The Wonder is coming out quick in comparison to Malick's past films, which have taken years; but it also features footage shot all around the world (as well as all around Oklahoma), which undoubtedly took some time.

The sole extra on the DVD is a five - minute behind the scenes segment, which isn't so much a making - of featurette than a gag reel type assembly of B - roll footage from the film's shoot.

His 2015 feature film, The Visit, wasn't without its share of faults — the found - footage angle was unnecessary and hampered his strengths, which has always been his shot selection behind the camera — but it was thrilling, cohesive, and digestible enough that it didn't seem too silly or outlandish.

The film is pieced together from outtakes from the long - time documentary filmmaker / cinematographer's extensive body of work, but beyond occasionally hearing her voice behind the camera (and one shot towards the end in which we finally see her face as she points the camera toward herself), Johnson forgoes the safety net of voiceover narration to tie all this footage together.

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.

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.

It's as if Ferrell and McKay made two different movies and slammed them together — and they reportedly did shoot enough footage for two whole movies, which could explain its disjointed outcome.

Despite the opening moments of the film which make use of gritty CCTV footage, shaky camera phones, and webcams, taking a found footage approach, the rest of the film is smoothly and aesthetically shot in widescreen.

The film consists entirely of footage shot in 2009 - 10 and there are many scenes which may have seemed harmless back in 2010 but take on a much different meaning after the 2011 Egyptian revolution.

He shot Jackie, his first film in English, on grainy Super 16, which undercuts the glamour of 1600 Pennsylvania Ave. with a little gritty texture, while also allowing Larraín to match his own footage to archival snippets.

(2000), the breakthrough film in which Fontainhas residents (most notably Vanda Duarte) play fictionalized versions of themselves as documentary footage depicts the demolition of their neighborhood, Costa first immersed himself in the community, shooting over 150 hours of footage as a one - man crew.

There are some comments from the cast, but the bulk of this segment is behind - the - scenes video footage from the set which examines how many of the complicated shots were done.

The exact amount of time and money that it will take to actually complete the production (which was about three - quarters finished when the directors were fired), will vary depending on how much rewriting and reshooting Howard deems is necessary after reviewing the script and shot footage.

A comprehensive behind - the - scenes section offers a look at preliminary visual effects footage and video from location scouts and the actual shoot, which can also be viewed on a split screen (a nice, if needless, option in some cases — the footage doesn't always easily match up, sometimes not at all, making for fractured Timecode - like viewing).

She shot 193 hours of footage for the film, which will be released in fall 2008.

That it's not quite synched with the nose - cam footage (which was actually shot from a Merc 450SEL 6.9) spoils things, at least if you're a pedant like me, but the notion of hammering a very fast, loud car through the near - deserted streets of Paris at 5.30 am is utterly intoxicating.

In fact, if you show up a little before 2:00 p.m., say about 1:45, you might even see yourself on KVII TV (ProNews 7 of Amarillo) Monday night at 6:00 p.m. on Lisa Schmidt's The Practicing Parent show, which will feature an interview with Pamela and other footage shot at Hastings.

He has come a long way since this news footage (which I'd never seen) was shot — turning from a virtually wild dog scared of everything to a trusting and loyal companion.

Titled «The Ultimate Assassin,» the video — which is shot with in - game footage from Hitman: Absolution — talks about Agent 47's instincts, which allows players to see enemies hidden behind cover, see their predetermined paths and more.

The gameplay is shot off - screen and we make use of the TeamVVV triple - screen setup, there's also the replay footage which is synced to the gameplay in the lower third of the video for your added viewing pleasure.

Join us for the world premiere of Anna Craycroft's stop - motion animation film, which the artist constructed by shooting new footage weekly in her exhibition «Motion into Being.»

The exhibition will include 100 of his unfired clay objects in addition to two documentary films on his work: «Sonny Ford:» Delta Artist, made by William Ferris in Leland, Mississippi in 1969 and JAMES «SON FORD» THOMAS: ARTIST made by filmmakers Jeffrey Wolf and Zach Wolf, using footage shot of Thomas in 1982 while exhibiting his work as part of the seminal touring exhibition Black Folk Art in America, 1930 - 1980, which has been edited on the occasion of this exhibition.

Drum Roll (1998)(footage shot from a barrel rolling through Manhattan), which receives its premiere, and Deadpan (1997)(a hazardous Buster Keaton gag reworked), are among the large - scale works included in McQueen's first major solo exhibition, curated by the ICA's Emma Dexter and Susan Copping.

In the video work A is to D what E is to H, Phillipson's voice - over carries us through a series of puns and linguistic slippages, set to a video sequence of cut - up moving image excerpts, which include shots of her own body, architectural surroundings and found footage.

A sense of magic realism permeates the images, which range from shots of Aztec ruins, rooster fights, and street footage to portraits of the artist performing symbolic gestures meant to convey Wojnarowicz's sense of powerlessness over the purposeful indifference of the American government and public to the AIDS epidemic.

As teenagers in Chicago, Thayer and his siblings shot short videos, resulting in hours of footage that the artist continues to use today in elaborate live performances, during which he animates, physically and virtually, objects of his own making.