look at how perfectly framed this shot is

This is one of my absolute favourite shots of the Krew in the whole show because it just proves how fucking dorky they all are. They totally choreographed this whole thing, waiting for Korra to sass Tarrlok until he storms off and then march into frame like her merry men and strike a pose, perfectly framed behind their commander and chief.

I could watch a whole book of the krew just doing this sort of dorky shit.

So…. Baby Driver…

Wow. There was a lot going on in this movie. It was like a modern Tarantino flick with a bunch of drifting and crazy ass driving plus an absolutely amazing soundtrack.

And that soundtrack. There was a lot going on. A LOT! To the point where I’m pretty sure I missed some stuff because of my hearing loss. But, the physical action of the movie was so impeccably choreographed to the soundtrack that I could completely follow what was going on. Like you know how in Mad Max all the shots were carefully framed so you knew where to look? It’s like every shot is perfectly cued to the soundtrack in the same way. Which is pretty much the schtick of the movie and all…

But here’s the thing. I have tinnitus mostly all the time. I ignore it by having music or shows running all the time. And I also have intermittent hearing loss. No movie with a really amazing soundtrack has ever made me feel so welcome in the theatre. The main character has disabling tinnitus, and his father figure is fully deaf and they communicate via sign language.

Not only did the movie visually communicate the soundtrack, gunshot by gunshot, the movie had people like me on the screen.

Holy shit.

(Incidentally, @inthroughthesunroof there were a lot of shots that would be vertigo inducing, so… I wouldn’t advise it.)


I was just rewatching this scene as a reference but I got distracted by how cool and creative some of the shots are, including:

  • The from-below Dutch angle that makes the adult characters seem to loom over the kids (and also puts the viewer at a child’s level)
  • The contrast of Gozaburo’s face framed against the cutsey childish drawings while Seto’s face is framed against the plain, austere wall
  • The way the curve of past!Seto’s face in profile fits perfectly against present!Mokuba’s face head on (as Mokuba looks at a version of his brother who’s almost the same age that he is now)

anonymous asked:

you said there was a similarity between clarke and bellamy in 4x01, but i couldnt see it. what do you mean by that?

i don’t think you’ll ever know how glad i am that you didn’t say ‘parallel’. i am a film student and i am so sick of that word lol (thx fandom). this might just be me but i personally think it’s not a particularly productive way to call everything a parallel. there is quite a difference between having a similar scene and an actual parallel that you will immediately catch. i feel that most people in this fandom don’t seem to understand the difference since they keep using that term in cases in which it should not be used. so yea, kudos to you for not going with that one. either way though. yes, i did say that there are obvious similarities (or at least that’s how i look at them) in how the writers decided to deal with bellamy’s and clarke’s respective individual arcs and how they managed to fuse them together by the end of the episode, and i’m gonna stand by that interpretation for now, because it makes the most sense to me.

(i dont have much time so i’mma have to keep this short)

i found 4x01 to be fascinating on many levels, from the intense focus on interpersonal relationships to the political/universal conflicts/issues. we get a lot of information in this ep alone and it’s all bewildering as much as it is exciting, because shit is gonna hit the fan real fucking fast. what caught my attention regarding bellamy and clarke though is this: you have an interplay between the visual, emotional camerawork and the written, intellectual narrative (text) that creates an expression of continuation within their personal relationship.

let’s start with the obvious: both characters deal with their dead loved ones in this episode (lexa and gina).

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Not sure if anyone brought this up already, but something I really loved about the last ending is how the first sequence of images showed all the GoM being alone, with their faces obscured or otherwise expressionless -in Aomine’s case you can’t even see him, since he’s lying down, and with the exception of Midorima, all of them have their faces turned away from the camera-. They’re on their own, detached from other people , even Akashi, who appears with Reo and Kotaro is clearly in a different  “layer”. The frames are empty, vacant, just them, alone in their own world, with no one to trust or play with.

But then the special eye-catches show them surrounded by their teams, having fun, their smiling faces perfectly visible. It’s literally a before and after and a very subtle way to show us how much they’ve changed for the better thanks to Kuroko’s influence. The new frames are lively, colorful, crowded. They’re normal teenage boys having fun with their friends now.

Of course, Kuroko has his own before and after too.

Just look at them, look how happy they are and how much they’ve grown, look at how they’ve managed to get new friends and love their teams. I’m so proud of them.

*I’m running with the theory that the rooftop represents Aomine because there are no shots of him in the first ending sequence and the rooftop was his favorite place to laze around before he was beaten and decided to practice again.

XOXO | Part 1

 Pairing - JiKook

Genre- Smut, Gossip Girl AU, Rich Kid AU


Originally posted by kookmint

Jimin was still a half a block away from the club when he started hearing the music. It was one of his favorite songs so his mood began to pick up a little. Jimin ran his ring-covered hand through his silver hair that was parted down the middle. He decided to wear a dark colored blazer over a silver silk tank top. On his legs, he wore his tightest jeans. Jimin knew he looked damn good tonight. He would usually be in the back of his sleek, black, town car, but had decided instead that a nice long walk would do him good.

As Jimin walked down the brightly lit street, his mind wandered to the events that occurred earlier in the evening. He broke up with his boyfriend, Yoongi. Jimin had been told about Yoongi flirting and making out with Jimin’s best friend, Taehyung, at one of Jimin’s own parties. The relationship had mainly became a social status thing lately, anyways; they hadn’t even slept together yet and Jimin could feel the attraction to the other fading. The breakup was practically mutual. Their parents would probably be more upset than the former couple. Jimin laughed quietly to himself at the thought.

  Jimin wasn’t heartless, so of course he was a little upset about the breakup, but the invitation to Jungkook’s new club was just too tempting. Jimin had known Jungkook nearly as long as Yoongi,  with the two being best friends and all. Jungkook was a playboy for sure, and he partied nearly every day of the week. Yoongi partied with Jungkook a lot of the time, but since Yoongi had some family drama, Jimin knew he wouldn’t show up tonight. And as much as Jungkook annoyed the hell out of Jimin, Jungkook was still a good friend. He knew that Jungkook would help lift his spirits and get him good and drunk.

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4x01 “Lazarus Rising”
“Dean Winchester Is Saved” (Part IV of V / Part I / Part II / Part III)

This just remains one of the best silent storytelling shots of the show imo. Even though of course it is arguably a lie that all angels in general are good, this introduction of a new species on SPN was masterfully done in terms of visuals. After all when Castiel tries to contact Dean the first time Dean immediately thinks of demons and something bad. And so does the viewer, but the shots tell the entire story. Because what we see framed with Dean when he’s looking outside of the gas station while salting the doorway is the word “wings” and also the the sign “positive - no smoke” and indicating perfectly that what is coming for Dean here isn’t a demon or harmful, but something good. Of course, knowing what happens later and how Castiel in S4 in the beginning was manipulating Dean heavily and the angels’ agenda in general can’t be described as “positive”, this certain force named Castiel Dean met here for the first time in the long run turned out being something with “wings” and something “positive” with “no smoke” but angelic grace.

Imagine Luke dressing up as a cop for Halloween. He already looks hot as fuck in blue but imagine seeing him in the costume and the first thing you notice is how the top two buttons of his shirt are undone so you can see his collar bones perfectly and part of his chest. And ok I can totally see him wearing some nice aviator sunglasses too that frame his face perfectly and match the black color of his lip ring consistently and when you see him he’s swinging his baton around and says “have you been a naughty girl tonight y/n” LOL GOOD FUCKING BYE

The Jaw Thing

I saw this prompt from padfootdidit and I just couldn’t resist.

early seventh year lily who has a massive crush on james watching him argue with sirius over the crossword and suddenly his jaw does the thing and she drops her pumpkin juice into her cereal      

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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?)

30 Day Writing Challenge

Day Eight: Workspace

One night, I awoke to the sound of the front door slamming and hurried stomping coming from the living room. Mistah J had a robbery planned that night, and I must have fallen asleep waiting for him to return.

I quickly got out of bed and walked into the living room. By the time I made it there, I heard his office door slamming shut, followed by several loud thuds and the sound of glass breaking. Things must have not went well.

I knocked on his door and waited.

“Pumpkin?” I asked softly.

Moments later, he huskily responded with, “Come in,”

I opened the door and stepped inside slowly. His office was normally messy. He always had sketches with chicken scratch handwriting on the walls and crumbled up pieces of paper all over the floor. But now it looked like a tornado had came through.

I stepped over the broken picture frames and the books he had thrown around and sat on the leather loveseat behind his desk. He looked up at me, panting.

“I take it things didn’t go well?” I asked softly as I patted the spot next to me. He sighed and sat down next to me before laying down and laying his head in my lap.

“The bat always ruins everything,” he whined quietly.

I ran my fingers through his bright green hair and allowed him to tell me what happened. They had just arrived at one of the warehouses. They were only supposed to pick up guns, ammo, and whatever money they could find. They had the guys tied up as planned but just as they were about to leave, Batman showed up. He took out most of his men and J barely escaped.

“We have to lay low for a while,” he muttered, “I hope he didn’t follow me here. I’m almost positive I lost him down an alley,” He traced circles on my knee with his thumb.

“Even if he did manage to follow you, it’s not like we couldn’t take him,” I said with a smile. I felt him smile against my leg.

Seconds later, he whined loudly and sat up. He walked over to one of the broken picture frames and picked it up.

“This was my favorite picture,” he said with a pout. He brought it with him as he sat back down beside me.

I rested my head on his shoulder and looked down at the picture of me. He caught me off guard that day. We were on the roof doing target practice. I had shot at something perfectly. It excited me and just as I turned to look at him to tell him about it, he snapped a picture of me.

“You can see the excitement in your eyes,” he said softly, “You were so happy that day,”

“We can always get a new frame,” I replied as I kissed his hand.

He wrapped his arm around me and sighed before kissing my temple.

“You always know how to calm me down,” he whispered as he nuzzled his face into my neck. I giggled at the touch and relaxed in his arms.

Soon, I heard his soft snores echoing throughout the trashed room. I rested my head in his lap and closed my eyes, eventually drifting off.

(Sorry it’s kind of short. I’m so drained from today but I really wanted to add day eight!)

(P.S I hope you guys are as excited as I am for the next twenty two days 😎❤️)

Okay so hear me out.

Season finale.

We see Callie and Penny packing up at Penny’s apartment, boxing up a few last things. Both are slightly sombre, both maybe a little emotional. But there’s also a sense of excitement. They’re leaving, right? It’s a big deal. It’s a big change. The shot pans to two large suitcases sitting by the door with their purses. The music is something kinda remorseful but kinda hopeful and light. Penny says something along the lines of “it’ll be okay, you know. New York is gonna be great.”

The episode goes on. Stuff happens. We see Callie and we see Arizona around the hospital, but we never see them near each other. It’s nothing remarkable. They haven’t been that friendly the last few episodes.

A little later on, toward the end of the episode, we see Arizona at her house. She’s standing in the doorway to Sofia’s bedroom, a stuffed bear in her arms. She looks devastated. Callie’s leaving. Sofia’s leaving. Maybe she wipes at her eyes. Maybe she holds it in - ever the stoic daughter of a marine. But her face shows how heartbroken she is. The music is something slow and sad, something instrumental.

She walks into the bedroom and sets the bear on the perfectly-made bed, and the shot follows her eyes as they land on a framed photo on Sofia’s nightstand. A photo of the three of them. When they were happy.

The doorbell rings.

She sighs, and she goes downstairs to answer.

The music changes. It’s one of those Grey’s acoustic versions of “I Choose You” by Sara Bareilles. (Because goddamn that song is meant for them.)

She opens the door and Callie is standing there looking at her.

Arizona is shocked – Callie and Penny and Sofia were supposed to leave for New York tonight.

Except Callie couldn’t leave.

She felt bad about Penny. She felt awful for what she was doing to her. She was even kinda sad – but she couldn’t leave. She helped Penny with her things and she just put her in a cab to the airport. But they’re over.

And she looks at Arizona. And Arizona looks at her. And the connection is there - like it’s always there. It’s magical. Electrical. The song gets a little louder, the lyrics are prominent.

And Callie says “I’m done fighting.”

Is she done fighting over Sofia? Is she just done fighting with Arizona? Is she tired of fighting her feelings for Arizona that never quite went away?

All of the above. But mostly the last. She chooses Arizona. She chooses this fight – the fight to be together again.

And the scene fades to black.

And the season finale ends.


Lately I’ve been doing a director specific film study. I choose a filmmaker and examine my way through their body of work. Currently, I am working my way through David Fincher’s films, most recently with ‘Se7en’.

Watching it again, it’s crazy to realize how many films it has inspired, even credit sequences (American Horror Story). But the main thing that I’m obsessed with is the look of the film, the bleak noir style that Fincher and Darius Khondji crafted so perfectly.

These are a few of my favorite shots from the film. I can only post ten at a time on Tumblr, it was painful to leave so many amazing shots out… I Love the use of practicals in some of these frames.