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Shot Zero

@_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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Spooktober continues with a funny, weird blend of physical comedy and visual effects in this Beetlejuice gag! buff.ly/vTAPgdO
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The entirety of this spinning oner from Blow Out is over two minutes, so the full thing will be up on Substack along with further breakdown, but take a moment to appreciate how effective the spinning sensation is at disorienting us along with Jack's (John Travolta) growing panic!
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When the emergency lights go on in this Ride or Die scene, everything in the hallway is soaked in red; even the one practical light, the EXIT sign, is red - a sign of danger, but also a sign Debbie (Octavia Spencer) is about to throw down for the first time.
Medium shot of a woman (Debbie, played by Octavia Spencer) standing in a hallway. The entire scene is bathed in red light; she is staring intently at a man, whose shoulder is just inside the frame. To her right is a fire extinguisher, and she looks like she's about to wield it . . .

ALT Medium shot of a woman (Debbie, played by Octavia Spencer) standing in a hallway. The entire scene is bathed in red light; she is staring intently at a man, whose shoulder is just inside the frame. To her right is a fire extinguisher, and she looks like she's about to wield it . . .

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Like much vampiric lore, Spike is playing with the juxtaposition of profane and holy, sensual and spiritual.
Image from Shot Zero (@_shotzero)
Image from Shot Zero (@_shotzero)
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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
Image from Shot Zero (@_shotzero)
Image from Shot Zero (@_shotzero)
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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.
Image from Shot Zero (@_shotzero)
Image from Shot Zero (@_shotzero)
Image from Shot Zero (@_shotzero)
Image from Shot Zero (@_shotzero)
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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 (@mehlsbells) profile pictureMel 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).
Image from Shot Zero (@_shotzero)
Image from Shot Zero (@_shotzero)
Image from Shot Zero (@_shotzero)
Image from Shot Zero (@_shotzero)
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