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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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Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)
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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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Shot Zero retweeted
Migli🔮 (@artbymigli) profile picture
Migli🔮@artbymigliOct 27
Close enough, welcome back Leslie Knope
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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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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 (@edgarwright) profile pictureedgarwright
@edgarwrightOct 26
'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 (@shadowknightdk) profile pictureShadow Knight@shadowknightdkOct 26
ik it's pretty basic but probably smth like this?
Image from Shadow Knight (@shadowknightdk)
Image from Shadow Knight (@shadowknightdk)
Image from Shadow Knight (@shadowknightdk)
Image from Shadow Knight (@shadowknightdk)
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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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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.
Image from The Late Knight Show (@Knightly_Hist)
Image from The Late Knight Show (@Knightly_Hist)
Image from The Late Knight Show (@Knightly_Hist)
Trey the Explainer (@Trey_Explainer) profile pictureTrey 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
Image from Trey the Explainer (@Trey_Explainer)
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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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Shot Zero retweeted
ford (@fordreboot) profile picture
ford
@fordrebootOct 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

'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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