Stuff for the set and shot design assignment!
seen from Uruguay

seen from Brazil
seen from Brazil

seen from Brazil
seen from United States
seen from Singapore
seen from Malaysia
seen from Singapore
seen from Syria
seen from United States
seen from Türkiye

seen from United States
seen from China
seen from United States

seen from Türkiye
seen from United States
seen from China

seen from Malaysia
seen from United States

seen from Singapore
Stuff for the set and shot design assignment!
Some of the shot design concepts I made in my storyboarding class last semester! I think these two turned out nice, though there is A LOT I would change now. It was an interesting challenge to play with value instead of just flat color, definitely want to experiment more with it :D
Artist: Berube ✌ Title: Gustfront short shot design “Shot design for my next Gustfront short film.www.gustfront.us”
From Andor, s2e3.
I LOVEEEEE how this dance stuff is done, it floored me. Forget the overheads and stuff but the on the ground shot design and, in particular, the movement of the extras is great.
It's all about countermovement and moving in these circles. It's diagietic in this show because that's kinda how this culture dances but I really like the idea of people moving in these circular patterns and always. against. joe. The camera constantly circling is great too.
also melina and i talked about this but having people cross/countercross in the foreground is key.
i like the frame rate stuff as shit gets a little more nuts. it's subtle and will be even more subtle in our dark enviro.
Doctor Who’s spin on A Christmas Carol involves more time and space travel than usual, as we visit the life of Kazran (played by Laurence Be
Despite the Money Shot (0:42-0:52) being only of a plain tabletop, it’s immediately clear we’re far in the future; or rather, the present in which we first met Kazran, which is also Amy and Rory’s past, and the Doctor’s wibbly wobbly timey wimey . . .
There will be more to steal from this perfect movie but boy if this isn't almost exactly what I was thinking for the Jose oshea scene. Reasons: 1. Really simple but effective coverage even without movement or "blocking"
2. the tangible different though in how Gael is staged/framed vs Diego Luna. Diego Luna is subjectively facing towards Gael with the camera close to the line, Gael is turned away and the camera is further off. I need to watch the whole movie again to have a clear sense of what this says but this scene is dynamic! in our movie Kaleigh would be Diego Luna, maybe turning more towards Joe as Lucia leaves. Need to figure out how she fits into this.
3. wide is just that tiny bit of shaky, that tiny bit of off. even the insert we come in on is a dutch angle! subtle little shit, nothing calling attention to itself or breaking realism but little things doing a lot
I really like jumping to extreme wides for sudden context in transitions. this movie is all timer at that.
(wildlife) ok i couldn't find any other shots (or clips) of this scene, but when the kid is walking around his house at night (horror movie!) seeing the old naked dude and his mom in bed, I've never seen handheld i so want to copy.
it's SO fluid, so motivated, and so without drawing attention to itself, despite being (I think?) the only sequence like this in the entire movie.
it's great. i want to copy it, especially for the beginning of the club scene. there needs to be so much going on and yanking us into it that we aren't paying attention to the fact that it's handheld.
probably something in the writing there... or needs to be there.
(wildlife)
I want to copy this shot exactly for Joe on the bench at the park. and then a reverse, and then an OTS at an angle when the lady comes up kinda interupting his stupor, then back to this one with her dirtying it when it's just exactly the same.
probably want to ride out most of it then in this shot to hold the tension. it's coming FROM joe, he's the livewire. hold on that rage.