@_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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Shot Zero retweeted
Mike Reyes@MrControversy8318h
I don't care what anyone says: Texas Switches are truly magical. One of the best examples of the practical approach yielding a mind-blowing result.
edgarwright
@edgarwright23h
'Last Night In Soho' turns 5 this week. I'll post some behind the scenes photos in the next few days. But enjoy this breakdown of the 'Cafe De Paris' dance sequence with Anya Taylor Joy, Thomasin McKenzie and Matt Smith, choreographed by the great Jennifer White. Too many amazing people worked on this film with me, and there are sequences (like this) that I'm insanely proud of. Shoutouts to Marcus Rowland for this incredible set, the genius DOP Chung-Hoon Chung, our amazing VFX supervisor Tom Proctor and, in this scene especially, the magnificent camera operator Chris Bain. Enjoy and more soon! @lastnightinsohomovie @focusfeatures @FictionComplete @workingtitlefilms
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not only clear not only gorgeous not only movement which flows with scene's emotions but also creates symbolism and impactful imagery along the way shotzero.substack.com/p/bloc…
Shadow Knight@shadowknightdkOct 26
ik it's pretty basic but probably smth like this?
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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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Excalibur (1981) is peak Terry English' armor. You can nit-pick aplenty, but it was one of the last times and entire cast of Knights hit the screen in full, polished armor. Notice the Grail embossed over Lancelot's plackart, plenty of nice details like this.
Trey the Explainer@Trey_ExplainerJan 22
The way I just went “holy shit” with my jaw on the floor when we caught a glimpse of this design
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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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Shot Zero retweeted
ford
@FordHeistCrewOct 22
every time i watch the exorcist i get to this scene and i'm like yeah man that is some of my favorite looking 40 seconds of film ever
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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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Replying to @_shotzero @camcavers
it's an enlightening conversation, but the "must be in color" coming in late and from high up must have compromised parts of color (if not parts of both) versions still! great stuff. theasc.com/article/spider-no…

'Spider-Noir': Shooting Black-and-White and Color at Once

Cinematographers Darran Tiernan and Peter Deming shot two versions of Amazon's 'Spider-Noir': Authentic Black & White and True-Hue Full Color.

theasc.com
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Replying to @camcavers
definitely watching it immediately after the B&W didn't help the comparison 😄 I don't mind experimenting! but AC saying "The production carried a unique mandate" [link below] sounds as tho studio forced it bc they didn't trust the B&W, which then handcuffed the creatives a bit
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Replying to @camcavers
Agree on ALL counts! Immediately after watching the first episode in B&W, went and watched about half in colour, OOC, and that was plenty. Clearly B&W is where their heart was, and it's not just more fitting, but stunning!
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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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Reminder we’ve got a weekly roundup of five short shot analyses - now even more themed! - published every Wednesday. Here are last week's shots, looking at characters under the influence of everything from mushrooms to special bubbble gum shotzero.substack.com/p/week…
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Shot Zero retweeted
edgarwright
@edgarwrightOct 20
We shot the aftermath first. Then redressed everything to shoot the 'before times' after. The ace steadicam operator was Paul Edwards. It was the first day of the shoot on the film too!
cinesthetic.
@TheCinestheticOct 20
SHAUN OF THE DEAD (2004) uses the exact same walk before and after the zombie outbreak, turning an ordinary morning routine into a brilliant visual joke. The attention to detail is unreal.

Shaun of the Dead (2004)

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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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This week's socials snippets are all on cracked mirrors; first, we look into the silver surface of a very large, tricky mirror shot in 1946 classic The Spiral Staircase. buff.ly/MKw4zqV
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