No Game No Life Episode 11

-
Who knew a gun fight between a loli and a cat eared loli using love-love guns would produce a fairly well shot action scene. For more than half of the scene below the combatants were fighting with a barrier between them and shooting through door openings. If shot normally, that is with medium to full shots of the two exchanging gunfire through the door, it would have been boring. This action scene was more about the feel of the combatants for each other's movements. To imitate that feeling the movement of bullets became the focus, hence plenty of close up shots, follow shots and slow motion shots of the bullets.


A long shot from the video above. It uses warm and cool colors to differentiate the two combatants. Izuna finds no enjoyment in playing hence the blue while Shiro loves the excitement of a challenge, which is represented by yellow-orange colors.     
_________________________________________________________________________

The video below is the continuation of the action. Starts with a slow lateral tracking shot to build tension as Izuna jumps out of the window. This time, distance is the separation between the combatants (Sora and Izuna). Again the bullet is the focus. Also, there's a really nice aerial follow shot of Izuna.

Comments

Post a Comment

Popular posts from this blog

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

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

After the Rain – Episode 7

-
Image
Distinctly manipulated lighting and shadows, fog and smoke effects, rain, stylized use of contrast and desaturation, and a myriad of image processing – these are often used to create visual textures that can capture a mood, an atmosphere and a certain emotional tone. Visual textures definitely tell a story but often a singular one strongly befitting a scene or even an entire movie. What stood out in this episode of After the Rain is the use of visual textures as a narrative device in an almost shot by shot basis. Various visual textures were used to accentuate the characters’ emotions and to mirror the dialogue. After a tense interaction with Kondo in which he said (to Tachibana), “You know nothing about me,” the characters then faced their emotions in Kondo’s apartment. The scene started off neutral in terms of lighting, color and texture. When the two started to express their feelings more, the visual texture changed to reflect the emotional shift. The above screenshots sh
READ MORE