@_shotzero

We talk about shot design - because shot design isn’t just how it looks and feels, it’s how it works. || Produced by @stuwillis & @mehlsbells and @draft_zero

 Melbourne / Naarm
shot-zero.com
Joined July 2022
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Like much vampiric lore, Spike is playing with the juxtaposition of profane and holy, sensual and spiritual.
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Spike Lee washing this Da Sweet Blood of Jesus shower scene in yellow may seem like an arbitrary or purely aesthetic choice . . . but it ties into another scene where a church is bathed in mostly yellow light. 1/2
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Kicking off our week on Colour Washes with famously tinted film Nosferatu . . . which possibly served as inspiration for tomorrow's entry, also a vampire film.
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Step into our mansion, where today we look at wonderful, unusual, and fractured uses of mirrors in 1946's THE SPIRAL STAIRCASE buff.ly/KrpQKhD
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It's a fool's errand to post even the few seconds of this beautiful shattered mirror shot on socials - the House-of-Mouse's algorithm will have us shot down before you can say boo! - but we take a closer look at its wonderful animation next week on the Substack.
animated medium shot of a woman with brown hair, wearing a white-and-blue top, looking into an ornate mirror. The glass has been broken, so various pieces reflect only bits and pieces of her face.

ALT animated medium shot of a woman with brown hair, wearing a white-and-blue top, looking into an ornate mirror. The glass has been broken, so various pieces reflect only bits and pieces of her face.

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(and pssst, next month we're looking at big, bold color washes from a Series 3 episode).
a wide shot of a file room in chaos, with two people running through a door; the room is COMPLETELY green, lit with bright emergency lighting, but through the cracked-open door we can see the hallway is COMPLETELY bright red.

ALT a wide shot of a file room in chaos, with two people running through a door; the room is COMPLETELY green, lit with bright emergency lighting, but through the cracked-open door we can see the hallway is COMPLETELY bright red.

A medium shot of two people pushing a file cart through a hallway; the hallway is COMPLETELY red, lit with bright emergency lighting, but through the cracked-open door we can see the adjacent room is COMPLETELY bright green.

ALT A medium shot of two people pushing a file cart through a hallway; the hallway is COMPLETELY red, lit with bright emergency lighting, but through the cracked-open door we can see the adjacent room is COMPLETELY bright green.

Mel Killingsworth@mehlsbellsOct 24
Series 6 did more with neon lighting than prior seasons, but Slow Horses is always making distinct choices; often scenes have their own mini-visual-arc, as this one from the Series 2 finale.
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In The Boys Season 3, Homelander has a long conversation with a few of his Selves in a mirror (photos 1-3) In season 4' “We’ll Keep the Red Flag Flying Here,” the mirror is shattered, depicting how much more fragmented and broken Homelander is (photo 4).
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As Jackson Lamb (Gary Oldman) tries to get the upper hand on an old nemesis, the scene's choice of angles show how off-kilter both men really are. We break it all down in our longread, today on the site: buff.ly/kEhNR0d
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this beautiful shot of Cat Hardy (Li Jun Li) says so much - it’s visually indicative of how Cat’s allegiances are split, but also demonstrates how her life is close to shattering, as Silvermane (Brendan Gleeson) comes closer and closer to discovering what she’s really up to.
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Already suffering #SlowHorses cravings now the finale has aired? Coming up, we're dishing up looks into scenes from Seasons 1, 2, and 3, to tide you over! (FTR we are Team Louisa here! No matter how good in bed you are, you don't help yourself to a stranger's Ben and Jerry's!)
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The #Spider-Noir title sequence uses lines like spiderweb gossamer to make cracks across a mirror, the shards of which reflects The Spider, his city, nemeses, friends, and those in-between. [full breakdown of the title sequence coming on Substack next month!]
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From the moment we meet Tilly, it's clear how much she values fashion and presentation. So when she opens the door to her mother’s house and is immediately pictured in a shattered mirror, the stark contrast tells us all about who she is now, versus the past she is now facing.
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