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luckydragon10 · 2 years

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KinnPorsche Ep14 Lines of Power (FINALE)

The COMPLETE Lines of Power series: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05] [Ep06] [Ep07] [Ep08] [Ep09 Part 1] [Ep09 Part 2] [Ep10] [Ep11] [Ep12] [Ep13] [Ep14 - this post]

While waiting for KP to launch, I watched the trailer dozens of times, and I decided "Why not do a post on the stunning visuals?" Afterwards, I thought I might as well make a whole series.

Since then, I've created 15 in-depth posts and called out 164 unique images to break down lines of power, staging, and framing in KinnPorsche the Series.

Y'all, I have worked my ass off. Now it's your turn.

For the finale, I'm asking you to show me what you learned.

I'm going to discuss ONE image because I've been WAITING FOR IT SINCE EP 2, like daaayuum, finally. The first one's mine.

But for the rest? I'll give you hints to jumpstart ideas, but then it's up to you. You can think about them privately, or you can take whatever images you want, reblog this post or repost them to discuss, break down, explore, brainstorm, have fun. (Please tag me if you create a new post so I can find it?) You can use just one or two images, or feel free to take this entire list of images, or ignore me and use your own images.

And if nobody takes up the challenge, oh well, this will still be a nice gallery. ;)

So, like I said, I get this first one:

I GOT MY THRONE REVERSAL!

The history: I started calling Kinn a king way back during the Trailer, and I've been screaming about Kinn and his ability to make any seat look a throne since Episode 2. The more it happened, the more I started looking for a reversal of that throne visual.

When I say "reversal," what I was expecting and searching for was an enemy sitting on a throne while Kinn was simultaneously shown de-throned and out of power.

However, I'm thrilled with this alternative reversal, where Kinn stands while Porsche demonstrates his solo throne-sitting style for the first time. And hot damn he makes it look good. 😍

Worth the wait. 😉

Okay, friends and LoP lovers. You're up. What do you think of these?

Hint: Camera tilt

Hint: Split screen background, Kinn separated/outside

Hint: Framing, tilted camera

Hint: Camera tilt

(*cries forever*)

Hint: Split backgrounds, light/dark, reversals

Hint: Kim being caged (look back at Ep 3), lines, slope

Hint: FUCK NO, I'M NOT GIVING YOU A HINT FOR THIS!!!

And here's an inspiration grab-bag! Lots of great scenes to choose from throughout the finale.

~~~

EXAMPLE: Even before I wrote this post, @lestrang pinged me about the mirrors in the VegasPete after-credit scene. So there's some inspiration!

///

The COMPLETE Lines of Power series: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05] [Ep06] [Ep07] [Ep08] [Ep09 Part 1] [Ep09 Part 2] [Ep10] [Ep11] [Ep12] [Ep13] [Ep14 - this post]

For more great meta from folks across the KP Tumblr fandom, please visit the Damn Good KinnPorsche Meta doc.

Aaaand scene!

*fade to black*

#kinnporsche #kinnporscheep14 #lines of power #cinematography breakdown #kinnporsche meta

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of-two-lands · 4 months

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youtube

44°58'23.5"N 6°03'54.8"E

youtube/oftwolands

www.oftwolands.com

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ursahlee · 1 year

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#Sicario #sicario 2015 #cinematography #cinematography breakdown

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hayden-christensen · 13 days

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OBI-WAN KENOBI (2022) Cinematography by Chung-Hoon Chung

@pscentral event 26: minimalism

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cinematicmasterpiece · 5 months

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women on the verge of a nervous breakdown (1988)

#women on the verge of a nervous breakdown #mujeres al borde de un ataque de nervios #film #movie #cinema #art #edit #screencaps #photography #cinematography #80s #pedro almodóvar #antonio banderas #carmen maura

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vibe-stash · 8 months

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Women on the Verge of a Nervous Breakdown (1988) Director: Pedro Almodóvar DOP: José Luis Alcaine

#cinematography #film stills #movie stills #women on the verge of a nervous breakdown #mujeres al borde de un ataque de nervios #pedro almodóvar #carmen maura #antonio banderas #the colors in this movie tho #80s movies #80s cinema #80s films #spanish cinema

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byleranalysis · 1 year

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Mike has literal emotional baggage…

while working on my analysis for the iconic Airport scene... I noticed that Mike was holding a large blue duffle bag... or ya know-- baggage.

You can see the baggage here–

and it's still in his right hand here while he talks to El about the flowers... HOWEVER--

when the camera cuts to a close-up of the note saying "from, Mike", the baggage has suddenly transported to his left side. Perfectly behind the note and flowers. Interesting. but there is more…

Mike walks in to Will's room with the same baggage earlier.

Will asks "You already packed?" To which Mike responds: "Yeah I mean-- I never really... unpacked." Oh-- thats interesting. Mark that for later.

After Mike has his heart to heart with Will, saying that

Oh! And after Jonathan "shatters" their teary-eyed "intimate moment"... well you see--

Well-- he forgets about the baggage he has been carrying. The baggage he has been carrying since walking off the plane in California. After speaking with Will, that bag never shows up again. Note: Will still has his backpack and painting.

Mike hasn't been able to unpack the baggage he has been carrying. The emotions with him when he gave El flowers and his awkward interaction with Will. The emotional complex baggage that El questions in their fight. The note. The inability to say "I love you". Mike hasn't been able to unpack the emotions weighing hm down that surround such. Yet-- the first heart-to-heart with Will... welp, the emotional baggage is quite literally forgotten.

Not to mention:

"You never say it" + "I say it"

vs

"I didn't say it" + "You didn't have too".

TL;DR

Poor Mike hasn't been able to unpack his complex feelings but talking to Will makes him leave such troubles behind.

anywayssss.... byler endgame.

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starsstardust · 8 months

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The acting in this scene is absolutely mind blowing. The slow realisation that maybe the world isn't black and white like he's seeing. Maybe morality doesn't play much of a role. I think this is the point where he'll actually start seeing the story from Yo Han's POV. I haven't continued further but the production, the lightning, the music, the whole damn cinematography needs a standing ovation. I'm in absolute awe of this whole scene. The word Morality written behind Ga On because till that scene, he was the whole representation of morality but now his believes are slowly breaking. Let me go and shout about it some more djdjdkdn

#the devil judge #kang yohan #kim gaon #kdrama #cinematography #asian cinema #that was the best mental breakdown ever

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callme-whatever-youlike · 8 months

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I broke down a small scene from ep4 (Don't quote me on this. I'm drafting this at 3 am) for a friend, and they said I should share it on here. I'm shy about my observations, so I'm doing so reluctantly. Anyway, here's the little breakdown thing – spoiler free.

Right, so the lighting in the Imperial palace is super diverse. Dark, bright, cold and warm, it has it all. The Cleons' colors are various shades of blue, ranging from the near grey scale turquoise seen on Dawn majority of the time to this almost lapus lazuli shade on Day which is a super dark yet rich color which contrasts very nicely with the golds and warm lighting in the room. Naturally, I'm focusing on Day during this because he's the primary focus I can bring attention to without spoiling any of the plot.

I also want to point out how the lapus color brings out the darkest shades in Lee's eyes. It's really insane what color can do when it comes to tone and appearance, and the Foundation team knows this. You can see the greyish turquoise color I mentioned on Dawn in the back. The area around the thrones is shadowed, which creates a primarily cold, almost ominous feel whenever we see any of them seated there, but at the early and mid hours of the day this room just lights up and the entire feel changes. In this scene, it seems like it's late afternoon, which brings lots of dynamic to the lighting.

Just like that, the whole feel changes. Another beautiful contrast is that despite the feeling of warmth brought about by the cinematography, the tone of the scene is cold and sharp, which one can also infer via Lee's body language. He's a fantastic actor to watch.

Huge shift in nature here.

Lovely dynamic camera work. There's a back and forth going on, an aggressive push and pull to see who's really in control in this situation. Day barks at this point. Pretty much telling the character he's at odds with to fight him if that's what they so desperately want to do. The character holds their ground, and we get more of that push and pull in dialog and demeanor. Who's fighting who? Who's got the upper hand? Who's really yielding to the other? Also, keep an eye on the lighting.

This isn't anger. This is assertiveness. Day tells the character to guess what answer he's searching for. He makes them question his goal and his motives. Now, look at his eyes. The light has changed them entirely. They're no longer a color akin to the dephs of the ocean. They're bright and steely.

Reins it in, yet doubles down, his gaze unwavering and that authority he conveys even stronger now that it's composed.

He got what he wanted. That smirk is so suble. It hardly draws his lips up enough to complete the expression, but it reaches his eyes. I actually slowed this down by a frame just to point that out.

Magnificent scene with incredible actors and beautiful cinematography that conveys conflict nonverbally.

Proof that danger still lurks in daylight.

#foundation #lee pace #emperor cleon #brother day #can we talk about how beautiful this cinematography is?#half assed scene breakdown #respect and enjoy the peace

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brookriver-mudlark · 1 year

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Shot-by-shot commentary of one scene from Transformers: The Last Knight

A few months ago, I remembered this movie was a thing, and looked up a clip to see if I'd be able to sit though it just for Optimus.

The short answer is no.

The long answer is that this single scene has driven me insane.

Bear in mind, i have very little context for this scene, so i will primarily be riffing on it from a cinematography angle. Buckle up!

Let's start with this...beautiful? aerial shot of gray metal guys running on a gray metal slope, their considerable scale reduced to that of ants on a plate by the speedy camera.

These two climb out of the structure. Their spatial relation to the rest of the scene is never established.

Aaand now the metal guys are running down from the other side of the screen. Did the camera keep spinning between shots?? Anyways, they start pummeling Optimus.

Cut to Optimus being pummeled from the front. With a bit of planning, this could have been continuous with the previous shot, but...oh boy. Oh boy. Let's not start with that just yet.

Don't forget, girl is here! (This is the last time she shows up in this scene.)

Oh right, Cade was in the corner of the last shot. He gets up, starts running in the opposite screen direction of where Optimus was in relation to him earlier,

...and immediately slips and falls in the next shot. You get to enjoy the moment in lovely slow-motion.

Optimus then explains what is currently happening in the scene for the benefit of anyone staring slack-jawed at the screen by this point.

Then the knights go back to beating Optimus up. One guy takes an axe to his back edged side down, and it doesn't do jack except knock him flat.

Also, Cade is here.

This guy finally comes to deal the killing blow.

What follows is a series of barely connected slo-mo jump cuts of the device on Cade's arm unfolding,

followed by a fast series of time-breaking cuts to show a single sword strike,

oh my god they keep cutting

wait WHO IS THIS, WHERE WAS HE ...oh my god, i scrubbed backwards, he's supposed to have been near Cade the whole time, what

Then there's a dramatic spinning shot, which would have been a cool moment to show the walking props knights holding their swords up in abrupt reverence, but instead we mostly just watch Cade look around in confusion while Optimus grovels.

We interrupt the spinning to inform you that this scene was filmed during golden hour.

Back to spinning. I guess you don't have to worry about the 180 degree rule if your scene spans the full 360, huh?

Cade looks over at Optimus, and Optimus looks back. ...Followed IMMEDIATELY by a fast pan of planes flying behind some knights; my eyes

Optimus keeps talking. His speech is about as continuous as the shots.

We finally get a quiet moment to hold on that last shot for a while, and listen to Cade give a pep talk to a war general who's seen countless human lifetimes' worth of pain and loss.

And that's all that Optimus needed to pick himself up.

We get a triumphant shot of Optimus straightening up, rallying his brothers in arms to rise up against Quintessa...

And for one moment, perhaps your brain can feel a glimmer of joy within the soup of semi-consciousness it's now sinking into.

...

If I watch the whole movie, I will die.

That's all, folks!

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beautifilms · 9 months

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Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, 1988)

#women on the verge of a nervous breakdown #pedro almodovar #film #cinematography

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luckydragon10 · 2 years

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KinnPorsche Ep12 Lines of Power

I'm here to call out lines of power, staging, and framing in KinnPorsche episode 12. Whew, Tumblr's 10-image limit is killing me. Had to do a lot of image combining this time to skirt it.

Bonus: It doesn't quiiiite fit in lines of power, but yesterday I called out a particular Comedy & Tragedy VP screencap for Reasons.

More LoP posts: [Trailer] … [Ep08] [Ep09 Part 1] [Ep09 Part 2] [Ep10] [Ep11] [Ep13]

Porsche is pissed and drawing some boundaries, and this scene uses a line of power (the window pane) to help him with that.

These two shots establish that the line is firmly in place from multiple camera angles.

It's not quiiiite perfectly in place throughout the whole scene, but it's damn close, as close as it's going to get without actually gluing the actors' feet to the floor.

Usually with dividing lines, I've been seeing people staying on their respective sides. Here, Kinn says "nope, do not like" and crosses over. He's not the same as he used to be. Remember back in the "all our people are the same to me" scene in Episode 4 with all those dividers between them? Yeah, Kinn has grown a lot since then.

Kinn: Line of power who? I don't know 'em.

Then there's this wide shot of Kinn trying to reach out physically, and Porsche snaps backwards, keeping the boundary firmly in place.

Fortunately, Kinn respects that boundary and realizes "I'm sorry" won't cut it, and he offers to help find actual answers (WHAT?) to tear down that line of power keeping him from his Porsche.

That gets Kinn through to Porsche, and he holds onto his man, who is still reluctant to give in entirely. The hug scene is framed with soft, blurred beige lines in the foreground. I'm not sure I want to read too much into the foreground frame except that it softens the hard edges, as Kinn is trying to do with Porsche's anger.

I feel this scene was a huge step forward for them, and I'm delighted with the way the line of power helped tell the story.

WOW. Wow, okay. Most often when Papa Korn shows up, he seems small and inconspicuous, often sitting, sometimes even stooped over with very sluggish, lazy posture.

Here he's standing straight and tall, looking very powerful. As with Tankhun in the previous episode, the shot here is designed to make him look LARGE and IMPOSING. The camera angle is looking up at him from below, but more importantly, the two pillars behind him are framing him and increasing his width, effectively doubling his size.

Papa Korn is on the move, playing his war.

This shot has a premium horizontal line: the division between grass and darkness. There aren't a lot of strong horizontals to be had, so I nabbed it.

Vegas looks like a marionette with his strings cut. His head and heart are above in the dark space, while his lost hedgehog is down in the lighter space with lush greenery. There's a strong sense of dissociation going on between the darkness above and light below, at least for me, but I think there's a lot of room for alternative interpretation.

The trees become a lovely frame around Vegas and Pete. I also love that the white flower is so clearly visible at Vegas's feet.

Both of the two scenes above use natural setting, clear light, and green plants, creating a noteworthy contrast to the bondage bedroom with its chains, colorful neon lights, and general clutter.

Speaking of which...

There's a lot going on with the chains in the room, so much that it becomes a bit difficult to read too much into them. However, the first shot above has a veeerrry clear divider between Vegas and Pete. It's problematic as a a line of power in the actual scene, though, because it comes and goes with the different camera angles as they talk in that moment.

A short time later, there are a few moments where the chains disappear completely, as captured in the second shot. The chains are still there, but they're currently hidden behind the characters, almost like the chains have been asorbed.

For most of the scene where Tay and Porsche chat, Tay is firmly positioned in the left half of the screen. He gets an almost entirely clear and white/beige background (highly uncommon) except for one black vertical line.

After Porsche brings up Time and Tay says "it's not like that," his problems come firmly to mind. That's when he sits back, smiles his small and painful smile, and the black line of power goes right through his head.

Tay is a very bright, kind, supporter-type character, hence the pale background. But he has his own troubles, too.

(I will now be adopting Tay.)

Mirrors. Always mirrors.

In the first shot, Porsche is blurred and very distorted. His emotions are all out of whack. He's full of rage and conflict, ready to lash out at the person he thinks has caused the biggest loss of his life.

Kinn's face is clear and focused. He has one goal in this scene, and that's to support Porsche through whatever happens.

In the second shot, after Porsche has let go of the rage and killing instinct, he comes into focus as he holds tight to his biggest simp supporter.

Kinn...you had ONE goal. (And you succeeded!)

There are Lines of Power, and then there's Chay and his LINE OF MOTHERFUCKING CHAOS POWER. This practically needs a post all to itself. Buckle up.

Chay's a mess, and for good reason. His erratic pink line of power reflects that mess. So much more than simple heartbreak has brought on his overdue rebellious phase. He's gone through numerous abandonments and was left essentially on his own without support, he's been kidnapped from his own home and injured, and he's had to face lies from numerous people he thought he could trust. Then throw in teenage heartbreak on top for flavor.

Plot has been happening TO Chay for a long time. But he's fighting back at last.

In this episode, he takes a firm hold of his agency. He decides to explore who he is outside of being "little brother" and "having a crush."

Chay is righteously (and rightly) pissed that Kim has taken away that agency by interrupting the party, and he promptly reclaims that agency by telling Kim off. His anger (all those spikey lines) is justified, in my opinion.

This fight was so fantastic, exactly what this pair needed... Chay standing up for himself and Kim revealing the real face of his Mafia Heir side (ref: @laughsalot3412's post talks about Kim's 3 sides). Kim's dark side is clearly demonstrated in this shot where he just about melts into the dark background.

Yet I'm obsessed with the way Chay's pink line still ends up pointing at Kim, hinting at lingering feelings.

(Need more Kim meta to flesh this out? I hiiiiiighly, so highly, recommend @shortpplfedup's post on Kim.)

///

More LoP posts: [Trailer] … [Ep08] [Ep09 Part 1] [Ep09 Part 2] [Ep10] [Ep11] [Ep13]

For more great meta from folks across the KP Tumblr fandom, please visit the Damn Good KinnPorsche Meta doc.

#kinnporsche #kinnporscheep12 #kinnporsche meta #lines of power #cinematography breakdown

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of-two-lands · 2 years

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44°58'23.5"N 6°03'54.8"E

youtube/oftwolands

www.oftwolands.com

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mehlsbells · 2 months

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View this post on Instagram

A post shared by Shot Zero (@_shotzero)

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The goodbyes that start and end Past Lives (2023) are deliberately staged to echo each other: with Hae Sung on screen left, Na Young / Nora on screen right, and shot in unfussy, clean coverage. But the flashback to them as 12yo doesn't reuse the original shot.

Instead, it's been re-staged, ostensibly to make it integrate better: it's shot a night; the blue of the door is more prominent — connecting it to colour of the garage door in the present, the orange of the sodium vapour lights Nora in both past & present; and her face is positioned roughly in the same point in frame so our eyes don't move over the cut.

So when they do cut to this shot, it doesn't "pop". Rather, we feel the past sneaking up on the present, while the present reimagines the past. The quiet stillness of the moment encourages us to feel the space with meaning and emotion. It's a powerful, deeply affecting scene created through gentle and wise filmmaking.

#Past Lives #shotzero #filmmaking #directing #cinematography #my compatriot Stu did this breakdown and it gave me all the feels the film did all over again #Instagram

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hiddenbyleaves · 1 month

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Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, 1988)

#women on the verge of a nervous breakdown #pedro almodóvar #film #cinema #cinematography

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thecinematicshots · 1 year

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#cinematography #movies #cineshots #beautiful shots #Breakdown (1997)

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