Zankyou no Terror Episode 4

-
The obvious eye-catcher in this episode was the exquisite motorcycle scene. The best parts of the scene were the use of camera movement to seamlessly transition to a cut.
In this cut the camera pushes in until the tire covers the entire screen. This acts sort of like a fade to black. The camera then zooms out to show the viewers a side view of the motorcycle. This sequence, due to good camera use has a feel of a very smooth match on action cut.
This is my favorite, which was a creative way of doing a graphic match. The camera continues to track the motorcycle until it accelerates pass the camera and all we see are the horizontal lines on the wall. Then it cuts to a graphic match of an extreme close-up of the line formed by Lisa’s eyelashes. The camera then zooms out to complete the sequence.

And here’s the entire scene for your viewing pleasure:


_______________________________________________________________________

Here’s a couple of interesting shots, which use foreground framing to provide a narrower focus on the subjects. This narrow focus strongly directs the audience’s view on the failure and vulnerability of the police department. They were caught and deceived; the resulting humiliation is communicated well in these shots.

Comments

Post a Comment

Popular posts from this blog

Koe no Katachi (A Silent Voice)

-
Both in the beginning and towards the end of Koe no Katachi there’s a fundamental scene where Ishida walks in the school hallway in anxiety while avoiding eye contact with his fellow students. The key difference between the two scenes is that the first one was done in a subjective point-of-view while the last one in an objective point-of-view. The difference in POV was to visually accentuate the contrast in narrative between the beginning and the end. Subjective POVs are usually shot in first person perspective and this is exactly how a large portion of the first “hallway scene” was shot. In this POV the audience sees the world from the character’s eyes, a far more visually and emotionally engaging experience. The viewer is in Ishida’s shoes as he walks through hallway, nervously looking down at the ground and avoiding the faces of other students. The camera shakes and moves unevenly. This motion of the camera not only emulates Ishida’s movement but also highlights his discomfor
READ MORE

Ping Pong The Animation Episode 11

-
Image
Yuasa and his animators really went all out with the camera movement for this finale. The video below is only the warm up. It starts with a medium shot of Smile and Peco in their stance to establish the anticipation. Then cuts to a close-up and extreme close-up that ratchet up the tension as the match begins. Around the 00:13 mark there's a steady-cam like movement where the camera rotates behind Smile then zooms into the ping pong ball. At 00:31 mark we see a really quick push-in shot on Smile which cuts to a reverse tracking shot as Peco slams the ball. This was a frantic combination of camera movements and quick cuts that creates the initial excitement. This frenzied start was a quick glimpse of Smile being brought out of his shell by Peco. A long-awaited moment. This feeling of fulfillment is encapsulated by the last shot, a close-up of Smile smiling as the camera pulls away to show him absorbing the moment, the cheers of the crowd and the fun that is Ping Pong.
READ MORE

Angel's Egg

-
Image
Angel’s Egg is a movie rich in surreal symbolism. As a whole the film is abstract and difficult to decipher but many scenes or shots on their own are eloquently lucid. It’s the vivid composition and meticulous camera work that constructed such visually engrossing and cohesive scenes. __________________________________________________________________________ The huge antenna structure functions as a strong leading line that visually guides the viewers’ eyes to the sky. With the viewers focused on the sky, the scene cuts to a shot of it with the camera tilting up to slowly reveal the main subject of interest, which is the descending orb. The third image compositionally puts everything together. The antenna continues to function as a leading line as it points to the orb. It also provides linear perspective, which creates depth. The man’s presence along with the orb establishes the important connection between the two. The last image also uses compositional triangle to not
READ MORE