Anime Cinematography Blog

Knights of Sidonia uses a variety of camera angles and movements to create intense and visceral action scenes. This was best exemplified by the Mecha battle in this episode. The scene below begins with a high angle shot of a Guana Mecha looking down at a destroyed Garde. This portrays the Gauna as an imposing figure which is further highlighted as the camera quickly moves in for a closeup. About 17 seconds into the video is where the show truly shines as it uses dynamic camera movements to a great effect. The action starts with an extreme long shot of Tanikaze's Garde, which quickly flies into the camera (full shot). The camera switches briefly to a follow shot of Tanikaze then pulls back, pans to the Gauna and moves in for a medium shot. These constant changes create an exciting sense of speed and hectic pace. The scene below shows a good application of slow-motion to transition from fast pace action to a more dramatic shot. Again, notice the great use of dynam

The use of imagery to create analogies for characterization is something Ping Pong have excelled at.  A close up of Kazama contemplating about Yurie's advice to play Ping Pong for himself.  The camera then pans to "The Thinker" statue. An imagery of Kazama deep in thought.  An extreme close up of a plane reflection on Kong's sunglasses. The plane has been the symbol for Kong's self exile and desire to come home. The imagery and the character it represents being in the same shot really drives this point home.  The camera then pulls back to reveal his coach/friend who asks if he's homesick.  Kong answers "You could say that" but the imagery of China on his coach's back and the plane in the background is a better reflection of how Kong feels.

The next few images illustrate the different ways the show gives a sense of scale.  A long shot of the Gardes formation being dwarfed by the Gauna.  A medium closeup of Nagate with the reflection of the Guana on his helmet.  A point of view shot from Nagate's cockpit.

 Long shot with a shallow focus. This establishes the volleyball setting. The haziness and the out of focus background give a memory lane effect.   Close up shot of the net with a shallow focus. The net coming into focus strongly suggests that the character (Nishinoya) is reminiscing about volleyball.  Off center medium shot. Volleyball background remains prominent.  Medium shot of the back of another character (Asahi). This shot specify what Nishinoya misses about volleyball and that is playing with the person in the shot.  Full shot of both characters. This establishes the two characters. Asahi having his back turned drives the emotional point that he has left volleyball.

Off center medium long shot showing Hase and Shogo talking as Hase looks at Kaori . Shallow focused medium shot. Directs the viewers' attention to Kaori as the converstion about her becomes more serious . Shallow focused close up shot. Further emphasizes Kaori as Shogo suggest that maybe Hase should push beyond being just friends with her .

The scene begins with an extreme close-up. The camera reverse tracks to introduce the main character and then the rest of the foreground characters. Camera pulls all the way to a slightly deep focus shot. This gives the effect of the main character's aloofness which is further accentuated with a high angle shot. Starts with a high angle shot to establish the setting. Cuts to a long shot and reverse tracks to show other players.

  Close-up Point of view shot from the cockpit   Establishing shot  High angle deep focus shot Low angle deep focus shot The whole sequence below. Consisted of a variety of changes in camera angles, follow shots and panning.