Sentence examples for camera crane from inspiring English sources

At the end, when it martyrs its one named character, Eve Democracy (Anne Wiazemski), it spreads her body across a mighty camera crane on a seashore.

Mickey Rourke, in shiny black suit and sunglasses, spends so long talking to one TV crew that they are dismantling the camera crane when he finishes.

OFFENBURG, GERMANY — The black telescoping arm of the Supertechno 30 camera crane swooped over the live television audience, as the scent of pyrotechnics from a Swedish band's performance lingered in the air.

The film is in austere black and white, its appearance based on 19th-century photography and the one elaborate visual moment resulted from Zinnemann's friend, director George Stevens, lending him a camera crane for a couple of hours.

Aside from us and a few camera operators (one of whom sat on a high camera crane parked in the center aisle) and a few security men and about forty large white placards scattered here and there in the first twelve rows of seats, the house was empty.

Mr. del Toro said he wanted to capture "the grace of the way the bodies float". So he put Sally Hawkins and Doug Jones (who wore an elaborately designed suit to play the creature) on a set with a platform to accommodate the camera crane.

The echo, here, is of "Citizen Kane," where the camera cranes over a rooftop and down through a skylight, in a weltering storm.

It would drift past the camera cranes and lighting rigs, the Ferris wheel and candy-colored booths, catch an updraft above the encircling forest, and flicker out among the clouds.

A special 90-foot square, 20-foot deep pool was built at Stage 30 on the MGM lot, complete with hydraulic lifts, hidden air hoses and special camera cranes for overhead shots.

The moment at which the camera cranes up, roof-high, to inspect a pullulating swarm of bodies below is like some insane twenty-first-century answer to Bruegel, although the filmmaker, unlike the painter, is scarcely able to contain himself at the spectacle of delight.

But Berkeley's idealizing labors are themselves creations of a unique and intensely personalized beauty, a reflection of his own extraordinary and intimate sense of style, which he creates by wielding the mighty and weighty machinery of studio-era filmmaking — camera cranes, klieg lights, mechanized and mobilized sets built to the scale of hangar-like soundstages — like a paintbrush.