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Shot Zero

@shotzero.bsky.social

130 followers 110 following 710 posts

We talk shot design - because shot design isn’t just how it looks and feels, it’s how it works. www.shot-zero.com Produced by Stu Willis & Mel Killingsworth

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Shot Zero @shotzero.bsky.social · 29d

#Andor FrameWithoutFrame 2/5
Through S1, Vel and Cinta had similar ideals, but polar opposite ideas of how they could work together within the Rebellion, and this frame reminds us of this visually.

I’m also interested in how we get *into* this frame, though:

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Shot Zero @shotzero.bsky.social · 1d

shotzero.substack.com/p/cat-people...

Art of the Chase: Editing for Feel Over Real in CAT PEOPLE

Happy Halloween! As a treat, let’s look at this iconic, historic (more below on how it shaped cinema forever) low-speed chase scene in heels! First, the Ebert notes “Her night walk seems to pass the…

shotzero.substack.com

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Shot Zero @shotzero.bsky.social · 1d

Cat People’s edit is all about creating a feeling instead of mimicking reality.

This iconic jumpscare codified an entire editing technique: The Lewton Bus is named after Cat People writer/producer Val Lewton, who would go on to use the same concept in many of his future works.

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Shot Zero @shotzero.bsky.social · 2d

#RosemarysBaby 2/2
The simple, static POV shot matches Rosemary's eyeline with the subject centre frame — but because Minnie is partially obscured, we (the audience) instinctively lean to the right, trying to look around the door to see what's happening.

The shot turns us into active participants.

Shot Zero @shotzero.bsky.social · 2d

This impressively staged #RosemarysBaby scene (it's only 2 setups!) features one of cinema's most simple yet iconic shots.

When 'Satanic mastermind' Minnie (Ruth Gordon) learns that Rosemary (Mia Farrow) is pregnant, she makes a phone call to her friends/coven.

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Shot Zero @shotzero.bsky.social · 3d

shotzero.substack.com/p/how-to-tra...

Shot Zero @shotzero.bsky.social · 3d

How do you get from this . . . to that?

We take a look at how Irma Vep transitions between two different scenes with similar movements.

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Shot Zero @shotzero.bsky.social · 4d

#Evil 2.02 “A is for Angel” makes great use of production design by setting up shots which frame drawings of demonic angels (or angelic demons, depending how you read the episode . . .) to look like they’re part of the team (shot 1), or sitting over David’s shoulder (shot 2).

Shot Zero @shotzero.bsky.social · 4d

The Babadook’s opening sequence uses surrealism to give us an uneasy feeling and 'bridge' from Amelia's dream to reality, then immediately follows by using Amelia's body and the two mismatched bedside lamps to create a picture of the Babadook.

What an all-timer way to start a film.

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Shot Zero @shotzero.bsky.social · 5d

#BettyBlue 2/2
Zorg’s movement and the camera’s are ‘paired' - pausing and restarting then coming to a rest together.

Bc Zorg’s and the camera’s movements are linked, it’s the mirror which allows the camera to be still at the start, only moving when he (not his reflection) is fully in frame.

Shot Zero @shotzero.bsky.social · 5d

This use of mirror in Betty Blue (1986) is lovely.

As the scene opens, Zorg is already in motion, bringing our eyes to the mirror. When Zorg comes into frame, his ‘real’ self’s motion motivates the camera to move; by the time we can’t see his reflection any more we’re in the flow of the scene.

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Shot Zero @shotzero.bsky.social · 6d

badass film imagery is babadook

Shot Zero @shotzero.bsky.social · 6d

Among other things, #AbbottElementary doing the will they / won't they / they did / they are!

better than anyone else in the game rn

shotzero.substack.com/p/setting-up...

Shot Zero @shotzero.bsky.social · 7d

#AgathaAllAlong first framed Teen in this painting in Ep2 "Circle Sewn With Fate" where it looks like a sun or halo from religious iconography.

Then in Ep7 "Death's Hand in Mine" the painting creates the High Priestess tarot card with Jen, complete with twin lamps as torches.

Shot Zero @shotzero.bsky.social · 7d

Happy Spooky Season!

Why not start off with a light miniseries on Opening Kills in Horror Movies?

shotzero.substack.com/p/perp-and-v...

Perp & Victim 2: Opening Kills in Horror (2000s+)

How do modern horror films use oners to create atmosphere?

shotzero.substack.com

Shot Zero @shotzero.bsky.social · 8d

In this wordless sequence from Saving Face (2004), white flashes serve to demonstrate how grief comes in waves and leaves behind strange gaps in your memory during those first days reckoning with new and painful loss.

Shot Zero @shotzero.bsky.social · 9d

Fish Tank isn’t shy about using imagery which evokes its name; several frames place Mia (Katie Jarvis) within frames and/or around screens and windows which evoke being trapped inside a square, glass tank.

Reposted by Shot Zero

Edward the Movie Buff 🎞🎬🎥📽 @midgetmoxie.bsky.social · 10d

The Incredible Shrinking Man (1957)
Director: Jack Arnold