Sentences with phrase «worse as the camera»

Motorola, even as bad as their cameras have been in the past, still produced very good software.

This is made worse as the camera shutter button is slow to react in poorer lighting conditions.

Not exact matches

Airbnb, for its part, figured out early on that «really bad» photos of its listings in New York City were keeping guests away, as co-founder Joe Gebbia recalled to Fast Company in 2012: «People were using camera phones and taking Craigslist - quality pictures.

Worse still, some will actually wait until the user attempts to use the function, such as a camera app with a specific filter, then only offer it as a purchase.

Then, just when it seems as if things can't get any worse, there will be yet another idiot in a trench coat standing on the edge of a waste dump, a dying rain forest, or a refugee camp, pointing the Camera at yet another problem» and then walking away.

Even worse, they suspected her mother was coaching her to keep up the pretense and went so far as to install 24 - hour surveillance cameras in hopes of «proving» that the mother and daughter were involved in a hoax.

In spite of this, the game was a truly forgettable one, and it's claims as the worst game of the season were strengthened in the first half when the TV cameras caught famous football obsessive and commentator John Motson, sitting off duty in the stands, having a snooze!

While the effects of climate change have already transformed parts of New York City — particularly its waterfronts, as documented by Camera Obscura columnist Nathan Kensinger in the years since Hurricane Sandy — things will likely only get worse in the years to come.

It would have looked bad if the cameras caught him waving it, but by showing just his frantic efforts to get the flag out, it came across as particularly amateurish.

As if all that weren't bad enough, the effects linger after the cameras are gone.

«When I was little, I was bullied so bad that I wanted to kill myself,» she tells the camera, as more tears well up in her eyes.

That's not down to a rubbish camera or a bad photographer, as you know that's certainly not the case.

I don't have an in focus photo of the palette as a whole, because my camera took the worst photos the day I was photographing it but it's the super light green on the bottom in the first photo!

By the time the interminable, seemingly endless climax rolls around, Battleship has definitively established itself as nothing less than an intolerable and flat - out reprehensible waste of time - which is surprising, certainly, given the presence of Berg behind the camera (ie the filmmaker is, after all, responsible for such entertaining fare as Hancock and Very Bad Things).

Worst things are the non-adjustable camera - setting as well as there's no online mode, but I guess that's all.

the graphics are really quite bad, enemies appear to be superimposed on to the landscape at times and there are many areas where the screen literally tears in half horizontally as you turn the camera.

How could such a precise and superb input device be put down as being worse than one which detects body movements using a camera.

As for Goddard, he's come close to directing other movies since The Cabin in the Woods, like The Martian and The Sinister Six, but it looks like Bad Times at the El Royale is the one that's finally going to get him behind the camera again, although he did recently direct the wonderful pilot for NBC's The Good Place.

The technical bits of the movie, such as the camera trying really hard to be creative with oddly framed shots, are as bad as the script and performances.

Muller is particularly illuminating when discussing Otto Preminger's formal inventiveness — his long, subtle takes, his ability to create compositions that essentially edit the film within the camera — and the various noir «types» that inhabit the narrative, such as the «bad cop» or the sickly neighbor who, in Muller's words, is often «waiting around to be a plot point in a crime story.»

There's lots to love and admire in Craig Gillespie's look at the rise and fall of ice - skating «bad girl» Tonya Harding, from Margot Robbie's committed performance as the disgraced Olympian to the filmmaking chops on display (watch how the cameras keep circling Harding in her skating scenes, like it's a frenzied shark — everybody, even the movie itself, seems to be a predator out to get her).

Worse, Mitchell is as in love with the Dutch angle (the camera canted for no good reason) and the unmotivated pan and zoom as poor, addled Roger Christian, the auteur behind Mr. Preston John Travolta's Battlefield Earth — meaning that while there's little substance in front of the camera, there's somehow less behind it.

Worse, the character is so poorly written that he comes across as flat - out dumb in scene after scene (such as searching for a hidden camera in his silverware drawer).

Badly acted and written cutscenes, a terrible camera, bugs, perils that you couldn't possibly have known about without hitting them first, levels that require you to play exactly as the developer intended and if you don't you die — probably by flying off the course at high speed?

by Kam Williams Headline: Kam's Annual Assessment of the Best (and Worst) in Black Cinema 2008 will be remembered as a breakout year for African - American females both in front of and behind the camera, with my # 1 picks for Best Feature (The Secret Life of Bees), Best Independent (I'm Through with White Girls) and Best Documentary (The Souls of Black Girls) all being directed by sisters.

I suspect it wants to be a satirical condemnation but it spends so much time parroting Belfort's self - serving point of view — he narrates the proceedings, often directly to the camera — with endless shots of adoring people fist - pumping and cheering on his every crime, that it often reads as a glib «Oops, my bad.

The latter merited a bad on - camera review from Sean Penn who between this show and his criticism of Ricky Gervais at Golden Globes, seems to be developing a side career as a real - time award show comedy critic.

It has all the good and bad elements of Anderson's style, including some of his best straight - ahead compositions (the ones with the camera facing perpendicular to a rectangular object like a wall or train while the characters either look straight ahead or move sideways as the camera tracks with them, often in slow - motion) and a vibrant use of color (including the blues and yellows he also used well in The Life Aquatic).

That these lighter textures of mischief and spiritiness can be found in a story that ultimately sees most of these young women bartered off into marriage like chattel or worse, is a testament to Erguven's sensitivity and intelligence behind the camera, and to the uniformly winning performances she elicits from her largely non-professional cast, especially Günes Sensoy as the youngest and most irrepressible of the sisters.

Worst - case scenario: That affection and respect spills over to the people behind the camera, and the movie traffics in the same toxic self - regard as other Meyers movies (including at least one scene where characters compliment each other on the witty lines provided for them by the filmmaker).

I'm in that camp and enjoyed Franco's recreation of particular scenes, along with the behind - the - camera retelling of insufferable moments with Wiseau, as well as the monumentous occasion where Wiseau premiered the six million dollar film that's considered one of the worst in modern history, if not all time.

It doesn't help that Cutler relies on a stable of formal clichés, including a falling - in - love montage, a boozy party shot in handheld, a blast of white light when an unconscious character drifts toward death and a scene in which the camera circles Mia anxiously as she overhears bad news.

The shaky camera syndrome continues, as does the bad editing, all trying to make up for Giglio's awful «out of a computer program» screenplay's lack of original ideas or just about anything else.

As Leo pines after a fellow hustler, Ahd (Eric Bernard), he picks up strange men who treat him tenderly and roughly, Vidal - Naquet's camera capturing both the decent and the bad with frank, un-titillated intimacy.

As long as you can get past the out - of - place (and bad) French-esque music and massive plot hole of there being cameras everywhere in the facility except the room containing the merman, it's a pretty engaging and entertaining filAs long as you can get past the out - of - place (and bad) French-esque music and massive plot hole of there being cameras everywhere in the facility except the room containing the merman, it's a pretty engaging and entertaining filas you can get past the out - of - place (and bad) French-esque music and massive plot hole of there being cameras everywhere in the facility except the room containing the merman, it's a pretty engaging and entertaining film.

Riding a lift with a bad guy who clearly intends no good, the music subtly changes, the lighting brightens on the two young love - stricken leads, Ryan Gosling and Carey Mulligan, as the camera pulls in ever so slowly and finally, all those lovey - dovey looks and slightly awkward silences come to a head.

i got 15 + hours on a demo now and i honestly think its a good feature for beginners, and its not as bad as it sounds and certanly not a game breaker, as people WONT be using it after they get used to controlling camera (which to be honest, HAS alittle learning curve to get used to in monster hunter games) ^ ^

Lloyd is insufferably obnoxious and smug; Daniels is a complete blank; Daryl Hannah (as Daniels's devoted camera operator) is even worse.

Clint Eastwood has made some bad movies on both sides of the camera, but his latest directorial effort ranks as one of the worst.

Still looks pretty bad ass for a big brained bad guy — plus remember that make up and FX shots never look as frightening off - camera.

Unfortunately, even with James Wan involved as a producer, and his longtime cinematographer, John R. Leonetti, stepping in behind the camera, «Annabelle» is a boring mess plagued by bad acting and an unoriginal script that blatantly steals from better films like «Rosemary's Baby» and «The Omen.»

There's Danny Glover as the President of the United States, a Russian billionaire with a Paris Hiltonesque girlfriend, Tom McCarthy playing Jackson's domestic rival, kids with urinary incontinence problems, Oliver Platt as the snivelling government stooge, improbable cell phone reception, car - fu, airplane gymnastics, bad Arnold Schwarzenegger vocal imitators, and surveillance cameras with unlikely range.

There are also some other technical issues such as the bad frame rate when too much stuff is onscreen (which has affected Goat Simulator since its PlayStation 4 launch), some camera problems, and an incredibly long initial load time.

She and the camera are allies in this, both bobbing around Keith as he stares out windows and fails to recover from a bad case of adolescence.

Were there bets as to Hoffman's first jump behind the camera, this type of film would have been a front - runner — which is not to say that it's a bad movie, it's just that bit too predictable.

Not bad for a base model loaded with standard equipment such as SYNC with voice activated commands, power windows and doors, a rearview backup camera and improved stability and traction control.

With 755 horsepower the 2019 Chevrolet Corvette zr1 is the most powerful Corvette ever it's also the most technologically advanced behind me are the rolling s's at Road Atlanta and we're here to see if we can reach to the supercar levels of performance afforded by this thing's massive power big tires and the tall wing on the back after that we'll take to the streets to see if a car this powerful can behave itself in public this is a monster of a car I've had some brief track opportunities moving this morning to get used to the pace of this machine which is phenomenal we're gonna warm up as we get out to the road Atlanta and sort of build up to the pace that this car can operate at now initially when you hop in this car you have this shrine to the engine right above you you see the line of the hood it kind of dominates the center of the view you can see over it it doesn't affect visibility but it's immediately obvious and that kind of speaks to what makes this car special it's a monster of an engine listen to that [Music] that is tremendous tremendous acceleration and incredible power but what I finding so far my brief time here at the Atlanta is that everything else in the car is rut has risen to match hurt me while I lay into it on the back straight look you know 150 mile - an - hour indicated we're going to ease up a little bit on it because I need to focus on talking rather than driving but like I was saying the attributes of the rest of the car the steering the braking capability the grip every system of this car is riding to the same level of the power and I think that's what makes it really impressive initially this is undoubtedly a mega mega fast car but it's one that doesn't terrify you with its performance potential there's a level of electronic sophistication that is unparalleled at this price point but it's hard not to get you know totally slipped away by the power of this engine so that's why I keep coming back to it this car has an electronically controlled limited slip differential it has shocks filled with magnetically responsive fluid that can react faster to inputs and everything this car has a super sophisticated stability control system that teaches you how to drive it quick but also makes you go faster we haven't even gotten into exploring it yet because the limits of this car are so high that frankly it takes a while to grow into it but [Music] I think what's impressive about this car is despite how fast it is it is approachable you can buy this car to track dates with it and grow with it as a driver and as an owner I think that's a really special [Music] because you will never be more talented than this car is fast ever unless you are a racing driver casually grazing under 50 miles an hour on this straight okay I'm just going to enjoy driving this now [Music][Applause][Music] this particular Corvette zr1 comes with the cars track performance package a lot of those changes happen underneath the sheet metal but one of the big differences that is immediately obvious is this giant carbon fiber wing now the way this thing is mounted is actually into the structure of the vehicle and it makes you know loading the rear hatch a bit more difficult but we're assuming that's okay if you're looking for the track performance this thing delivers also giving you that performance are these Michelin Pilot Sport cup tires which are basically track oriented tires that you can drive on the street but as we wake our way to the front of the thing what really matters is what's under the hood that's right there's actually a hole in the hood of this thing and that's because this engine is so tall it's tall because it has a larger supercharger and a bunch of added cooling on it to help it you know keep at the right temperature the supercharger is way larger than the one on the zo six and it has a more cooling capacity and the downside is it's taller so it pops literally through the hood the cool thing is from the top you can actually see this shake when you're looking at it from you know a camera from the top of the vehicle this all makes for 755 horsepower making this the most powerful Corvette ever now what's important about that is this not just the power but likewise everything in the car has to be built to accommodate and be able to drive to the level of speed this thing can develop that's why you had the massive cooling so I had the aerodynamics and that's why I had the electronic sophistication inside [Applause] we had a lot of time to take this car on the track yesterday and I've had the night to think about things Matt today two crews on the road and see how this extreme performance machine deals with the sort of more civil minded stuff of street driving the track impressions remain this thing is unquestionably one of the most capable cars you can get from a dealer these days a lot of that's besides the point now because we're on the street we have speed limits they have the ever - present threat of law enforcement around every corner so the question is what does this car feel like in public when you slow this car down it feels like a more powerful Corvette you don't get much tram lining from these big wheels though we as the front end doesn't want to follow grooves in the pavement it is louder it is a little firmer but it's certainly livable on a day to day basis that's surprising for a vehicle of this capability normally these track oriented cars are so hardcore that you wouldn't want to drive them to the racetrack but let's face it you spend more time driving to the track than you do on the track and the fact that this thing works well in both disciplines is really impressive I can also dial everything back and cruise and not feel like I'm getting punished for driving a hardcore track machine that's a that's a really nice accomplishment that's something that you won't find in cars that are this fast and costs maybe double this much the engine in this car dominates the entire experience you can't miss the engine and the whole friend this car is sort of a shrine to it the way it pops out of the hood the way it's covered with coolers around the sides it is the experience of this car and that does make driving this thing special and also the fact that it doesn't look half bad either in fact I think it has some of the coolest looking wheels currently available on a new car this car as we mentioned this car has the track package the track package on this car gives you what they call competition bucket seats which are a little wide for my tastes but I'm you know not the widest person in the world this automatic transmission works well I mean there's so much torque again out of this engine that it can be very smooth and almost imperceptible its clunky on occasion I think I'd might opt for the manual although Chevy tells me about 80 % of its customers will go for the automatic I don't think they're gonna be disappointed and that's gonna be the faster transmission drag strip on the street - and on the racetrack man it was a little bit more satisfying to my taste though we've talked about the exhaust I have it set in the track setting let's quiet it down a little bit so you can hear the difference now I've set that separately from everything else so let's put it stealth what happened to the engine sound that's pretty that's pretty amazing man stealth is really stealth and then go back to track Wow actually a really big difference that's that's pretty great the Corvette has always been a strong value proposition and nowhere is that more evident than this zr1 giving you a nearly unbeatable track performance per dollar now the nice thing is on the road this doesn't feel like a ragged edge track machine either you could genuinely drive it every day the compromises are few and that's what makes this car so special if you like what you see keep it tuned right here and be sure to visit Edmunds.com [Music]

Only 29,000 miles, 3rd row 7 passenger seating, no accidents reported to car fax, one owner, not a previous rental, back up camera, heated seats, all wheel drive, blue tooth, balance of factory warranty and one year 24/7 roadside assistance, * good credit, bad credit, we do it all rates starting as low as 1.9 a.p.r. To qualified buyers ask salesperson for details.

However, it's also not as bad in the urban jungle as you may think: there's a plethora of cameras and sensors to assist parking and the high ride height delivers a commanding view.

It has a unique 4 «ultrapixel» camera which excels at capturing great pictures in the worst environments, yet taking good pictures in optimal settings as well.