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#hand cinematography
bittersweet-nothingss · 2 months
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Hand Shots (Destiel’s version)
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7thartheaven · 7 months
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"Feelings can creep up just like that. I thought I was in control."
In the Mood for Love (2000), Wong Kar-Wai
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follows-the-bees · 4 months
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I've talked about it before but the use of Spaghetti Western shots primarily on Izzy in season one and then with the eye closeup on Kraken-era Blackbeard is such a loud choice.
These type of shots are used during standoffs and with the "bad guys."
Izzy, Fang, and Ivan's introduction: How in every shot Izzy is in front, with the duo flanking him. How the camera zoom in and plays western music. The choice of their dark clothing versus Stede and co's light clothing.
How Izzy talks like a Shakespearean villain, immediately drawing you in, while Stede fumbles his way to beating Izzy (not for the first time) and we see just how much Stede's crew is out of their depth in the classic pirate sense, yet in their own way perfectly adequate. And this and the combination of Izzy's lies to Ed just fuel Ed's obsession of Stede.
The shot through Stede's legs when they start their fuckery, get their men back, also reveals the power dynamic, the trio still in the villain shot and Stede in the hero one. We already know just from this dynamic that Stede is going to win.
The closeup in Kraken-era Blackbeard. He is just going through the motions, it's just another Tuesday, another raid. And we see how dead his eyes are; how devoid of life they were in the past. Instead, as he states during this scene, he's the devil; he's full on embracing the picture of himself in Ed's book with nine guns and even using the term "devil pyrate." The standoff is between him and himself, while being framed as the wedding they attack.
I am obsessed that only Izzy and Kraken-era Blackbeard are shot this way. Cause it shows and tells you exactly how you are supposed to feel about them using old camerawork techniques and cues.
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notalicent · 7 months
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HOUSE OF THE DRAGON + cinematography
"The Lord of the Tides" Director of Photography: Catherine Goldschmidt
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gayofthefae · 1 month
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Will takes up more space in Mike's mind when he takes up more space in the shot, and would you look at that...
Before "the heart":
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After:
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As Mike turns initially the camera actually even pans with Mike and goes off of Will and is a closer shot, so they had a fine transition out of that interaction there, but when it cuts back it's in a wider angle and Will is back in the shot.
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marlenacantswim · 1 year
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my favorite instances of diegetic sound effects being used for non-diegetic purposes in Hot Fuzz
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earlysummer1951 · 5 months
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Drive (2011) dir. Nicolas Winding Refn
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uncannyarchive · 1 year
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The Hands of Purple Distances (1962), Sava Trifković
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taikanyohou · 11 months
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“Volleyball is a sport that you can’t play alone.” TWINS (2023). Official Pilot.
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Succession | season 2 | 2019
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7thartheaven · 2 years
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"God knows I have been a very indifferent lover, but you understand me. You understand my feelings."
Emma. (2020), Autumn de Wilde
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celine-song · 1 year
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BARDO, False Chronicle of a Handful of Truths (2022) dir. Alejandro González Iñárritu
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follows-the-bees · 2 months
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I ended up writing a ton more OFMD meta posts than I thought. And for the sake of my own sanity, I made a master post of all of them.
Filmmaking Meta
How cinematography, blocking, and camerawork in S2 eps 6&7 show Ed's and Stede's emotions
Sound design in 2x3 MerStede scene
Full filmmaking breakdown of 2x3 MerStede scene
Scene that captures the thesis of the show
Filmmaking, camerawork, framing, in 2x1
Breakdown of love "confession" scene in 2x4
Progression of the candle light getting closer to Ed in 2x4
The contrast of sounds used in the bathtub scene
The use of greenery in negative space in 1x7: This Is Happening (Part One of Negative Space Series)
How center-framed shots of Ed's back show his emotional state and isolation (Part Two of Negative Space Series)
How negative space shows Ed a hopeful future (Part 2.5 of Negative Space Series)
Negative space shows Ed's isolation after shuffling on the Blackbeard/Kraken role. (Part 2.5.5 of Negative Space Series)
The camerawork, cinematography, and blocking during Blackbeard and Frenchie's "impossible bird" conversation at the end of 2x1.
How the camerawork used in 2x2 Red Flags shows the power dynamic and tension between Blackbeard and Frenchie.
The contrast of having these two shots (2x1 and 2x5) set in the exact same place.
Wild West/Western theme used with the original Blackbeard crew
Wild West theme coming back when Ed is The Kraken
More Western tropes that I found
Buttons as a conduit of death/purgatory
Ed and Stede jumping into the water for each other
2x3 and 2x8 Ed and water parallels
Light motifs show hope and love
Green lighting used in 1x6
Ed and Stede wedding cake toppers
Light motif during the lighthouse scene in 1x4
Mirror shots
Izzy's lighting in jail
1x8 and 1x10 depression era robe
Fanfiction Meta
Stede's costume color in S2
Face touching and Ed's outfits meaning
Character Meta
Ed hiding his heart: the silk and cake topper
The crew voting to let Ed back on the Revenge
Stede heals the tattoos Ed puts on his body to get over/integrate his fears/image
Jim's transformation in Calypso's Birthday
Archie's role in the narrative
Ed not really wanting to die in the grav(e)y basket
Stede touches Ed's elbow and back of head cause he knows it's safe
Ed touching Stede's chest
Frenchie's and Ed's instant friendship
Ed and Frenchie have similar coping mechanisms
Discomfort in a Married State
Doggy Heaven line
Izzy taking the blame for the painting
Ed hiding his heart (silk, wedding cake toppers)
Stede character study
Stede Bunnet Symbolism
Choice of saying us not me
Ed's trauma response
Stede going quiet when grieving
Non-Meta
Stede is a cutie patootie
Ed's introduction
Comedic actors can't pull off drama
Small moments in PB scene
Jim as Peter Pan
Edward Teach, born on a beach
Song Lyrics
All Shades of Blue
The Stable Song
Dark, Dark, Dark
Southern Star
Second Chances
Swallowed in the Sea
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peonies-and-dreams · 1 month
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A person is, among all else, a material thing, easily torn and not easily mended.
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bezesta · 2 years
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Mississippi Masala (1993) dir. Mira Nair
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holy-loki · 1 year
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the emerald pin in velvet goldmine (1998) 
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