We talk about shot design - because shot design isn’t just how it looks and feels, it’s how it works. || Produced by @stuwillis & @mehlsbells and @draft_zero

Melbourne / Naarm
Joined July 2022
Excalibur (1981) is peak Terry English' armor. You can nit-pick aplenty, but it was one of the last times and entire cast of Knights hit the screen in full, polished armor. Notice the Grail embossed over Lancelot's plackart, plenty of nice details like this.
The way I just went “holy shit” with my jaw on the floor when we caught a glimpse of this design
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every time i watch the exorcist i get to this scene and i'm like yeah man that is some of my favorite looking 40 seconds of film ever
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edgarwright
@edgarwrightOct 20
We shot the aftermath first. Then redressed everything to shoot the 'before times' after. The ace steadicam operator was Paul Edwards. It was the first day of the shoot on the film too!
SHAUN OF THE DEAD (2004) uses the exact same walk before and after the zombie outbreak, turning an ordinary morning routine into a brilliant visual joke. The attention to detail is unreal.
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just came across the mother of all transitions in anna magdalena (1998)
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underrated part of this scene is how the camera work goes from steady to shaky because the camera crew was struggling not to lose it too
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Wicker knows its target audience. Phenomenal. No notes.
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ALICE'S ADVENTURES IN WONDERLAND (1972) contains an unbroken 30-second shot that shows Alice magically shrinking in the frame after eating a magic mushroom, which continues to baffle people for over 50 years. What you see really happened in one take with no cuts. There were no green screens, no compositing shots together and no digital VFX or CGI. It was captured in camera. How do you think this incredible shot was accomplished?
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It's spooky season, which also means some of the most gorgeous movies ever made!
Today on our substack we look at five of our favorite shots from the SUMPTUOUS 1964 horror The Masque of the Red Death. Just LOOK at this set design! buff.ly/lqp3nXs
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How #CARRIE uses split diopter shots to convey information and add to our sense of unease. mehlsbells.wordpress.com/201…
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chungking express, 1994
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Hitchcock uses a sequence of images of the architectural space as a transmitter of a specific musical message. It's a reverberating space, which "transports" the melody to its destination. The Man Who Knew Too Much (1956)
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“ Why do you love black and white films so much?” The film:
“Why do you love black and white films so much?” the film:
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The genius to the original theatrical opening is that the studio logo plays out like you'd usually see. There is a pause for exactly one second before the synth of the song begins over black. And, then a millisecond later you're straight into it.
I absolutely thought the projectionist skipped a reel on first viewing. I was flabbergasted. Legendary.
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The world you grew up in no longer exists.
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It's not often one gets the opportunity to make a pro-piracy case about film preservation, and yet here we are! Thrilled this piece is out. Go read it. [Thanks @vrizov and @danielkasman for being terrific editors.]
"When an informal network of amateurs questions the work of industry standard-bearers, it is rarely a matter of raw technical superiority but rather a fundamental difference in constraints..." @SadHillDevan writes on piracy-based film preservation. mubi.com/en/notebook/posts/p…
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the shot when she turns around and brittany comes into focus is one of the greatest of the show
essa parte específica da música é simplesmente tudo pra mim
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The movement in this frame is astonishing. Look at that back foot slip!
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all of them sound exactly like pacino this is insane
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THE FOG !!! Carpenter made heroine entry so effortlessly cool.
The perfect dream job exists.
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Raging Bull (1980), shot by Michael Chapman, emulates the look of its 1940s era better than most period films. Stage-y, studio lighting, deep focus, and a slightly hazy softness.
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