one of the things i appreciated most about wonder woman was that diana’s bust was never the focus. she tended to be shot either from the shoulders up, cutting off the bust entirely, or from the waist up
whereas naked chris pine’s nipples were on the lower third line and the top of his head was cut off bc patty jenkins knows what she’s about
Crank your field dampers to maximum and bring a spare locking chip, today’s episode is The Spark. Just going to toss you some shots of Grid Scavos/Vega ( the Predacons call it Scavos and the Maximals call it Vega, which I like because they’re not going to sit down over tea and agree on cartography. ) It is in Predacon territory.
THIS EPISODE WAS ENTIRELY SUNRISE. DON’T MAKE ME COME OVER THERE, BEAST WARS.
If you don’t know what Instagram is then you must not be from around here… and from around here I mean Earth. Kidding… Just trying to make a point how popular Instagram is right now. Basically, Instagram is a lot like twitter. You follow people, you gain followers, you can flood the public timeline with your content but instead of words, you post photos.
“I already have Instagram so stop blabbering” yeah… okay but is your Instagram feed pretty? I know some people really don’t care but having a pretty Instagram feed really makes an impression to people who stalk you (heh) and it’s a nice way of expressing yourself too.
So this post is dedicated to prettifying that feed of yours. I know there are a lot of other “how tos” online but this is based on my personal experience. Also, Please do remember that “better” and “pretty” are very subjective ideas. ;)
Can we talk about the shot composition here for a minute? I mean just a few details I’ve noticed. I placed a rule of thirds grid over the shot and I love how well it is put together.
Look at how this shot frames the room. Look at how the table/desk in the center column perfectly fits in between the two vertical markers. I also like how if Dean were to sit up straight his eyes would line up perfectly with the cross of the top horizontal and right vertical markers.
Notice the symmetry of the room. The two columns in the back of the room followed by the two pillars closer to the camera create a trapped feeling, which helps the viewer get into Dean’s mind here. The repetition of arches also pops out at me, from the archway leading to the telescope, to the arch that the table makes to the arches that the chairs make as well.
Then notice where the symmetry of the room breaks. It strikes me as interesting (whether intentional or not) that the lamp on Dean’s table/desk is off center compared to the other two lamps on the tables in the distance. This creates a discordant feeling/mood for me, again, helping the me/audience identify with how Dean feels.
Finally I love how long this shot is while also feeling very small and trapped. I assume a long focal length was used to pull in and compress the background while at the same time the repetitive table/lamp/chair combinations make it all seem like a reflection (Dean going through the same thoughts in his head?)
Larktag asks, did Spectre have a different DP than Skyfall? A-yup; cinematographer on Spectre was Hoyte van Hoytema, who did Interstellar and Her, among others. He suggested to director Sam Mendes that they could get a nostalgic, more romantic feel by using 35 mm film, rather than digital equipment like the Arri Alexa DP Roger Deakins used for Skyfall. Unfortunately, I think it turned out less nostalgic than stultified, less romantic than old-fashioned. The bar was high, though; Roger Deakins is one of the most well-regarded cinematographers, and his genius is all over films like The Shawshank Redemption, A Beautiful Mind, Kundun, and all the Coen Bros’ best (O Brother Where Art Thou?, Fargo, The Big Lebowski, etc.). Three things marked Deakins’ style for me in Skyfall: the gorgeous lighting traversing palettes across locations, the quiet or very smoothly moving camera that didn’t sacrifice clarity for action, and the framing that balances movement within each shot without resorting to the heavy-handed center framing that’s becoming all too common in action films.
While the colors were obvious and striking (the deep blue of the skyscraper scenes in Macau, for instance, or the vibrant reds in Shanghai, or the chilly desaturation on the Scottish moors), the lighting was quietly masterful: this was a film about mirroring and self-reflection, Bond seeing himself in others and examining his own psyche, and it used a constant motif of glass and mirrors to get that across. Nothing puts pressure on lighting design like filming so many glass walls: how the fuck did they get so many shots like this without the camera showing up in a reflection?