#also?? filmmaking and gifmaking are two different things. go away.

[neurodivenport]

this dude i know whos a film major trying to tell me the best way to make gifs when he's literally never done it before

#the moment he said 'you should be using after effects' i wanted to grab a knife #mf there are like 40 million ways to do it and i like how i do it. also i did not ask. #also?? filmmaking and gifmaking are two different things. go away. #sorry i just my pet peeve is when im like really into doing something and someone else tries to tell me how i should be doing it #like i like my way. fuck off. bye bye

[jojoqin]

Why the remake cabin kicks the OG’s ass -an analysis 🔎

Basically it has to do with a lot of elements. Sound, cinematic framing, how well written the entire segment is in general. All that sweet jazz. Also sorry in advance, I had to gifmaker some shitty gifs because I needed examples 😭💀

So I read up on a lot of filmmaking for this post about what makes a good set piece. At the start, the game already sets it up by subconsciously familiarizing the player with the cabin; making it one of the first areas we pass by. There’s something about how you see it in its position; in between the trees, sort of in the same center as the bridge, very by itself. Clearly it’s important. Later, the Saddler mindfuck scene at the church actually shows us why the villagers are on the chase. And it's all tied to how well realized the cult theme is in the entire story. It puts a slightly more sinister spin on the villagers' motivation compared to the og where it sometimes feels like they're purely used as obstacles.

And yes there’s actually PAYOFF this time. No more "vamanos" and the villagers just leave. Or for Luis to ask "so what now?". This time the villagers' condition gets woven into new exposition and a new goal; the Plaga ordeal inside the characters. And the end scene defines Luis role. A great set piece should have a well written purpose to advance the plot forward. And we actually experience first hand the whole hive mind thing instead of getting a 5 min Saddler monologue about it.

Talking about the technical stuff in scenes too. Like listen to the music and audio during the run up towards and after Luis closes the door, the music become this muffled droning as soon as the door is shut. It indicates that you've entered a different space that's more confined and sheltered from the outside w/o immediately breaking the ambient tension. Not necessarily an upgrade from the og but in the og, the escalating music stops because the payoff is seeing Luis. Whilst the remake still likes to remind you that you're still in a weird situation.

I also talked before how the camera loves to follow characters. In this shot you follow Leon forward and then you’re backing up behind Luis in this continuous camera movement. And see how tight the camera sticks behind Leon’s shoulder? He takes up like 75% of the frame at one point, with the camera subtly zooming in even though Luis is the focus. There’s a visceral feel in the confrontation, how its putting pressure on Luis just by how the scene is directed.

And the sound during that is like auditory storytelling. I know my audio doesn’t quite do it justice because it’s been compressed to shit so y’all might want to seek out the actual scene. But when Luis hits the wall here, the strings fade out and the sound of the rain is brought forward. Audio-wise, it’s like it’s bringing our focus to the presence of Luis and Ashley. It's also just ASMR af.

Another example of the fluid camera transition from earlier is when Ashley hides. The camera leads away from her and it follows that same “leading away” movement when it transition cuts to the window with Leon going into frame. Like look how seamless it tells action w/o having to do a lot of harsh cuts unlike the gif of the og below. The remake tends to show multiple activities either within the same shot or following a visual style so that it's easy to digest.

And holy shit, the way the music just disappears when our dudes take position here is so FUCKING GOOD. Because all you hear is the echo of the cult chanting and the ASMR patter of rain. I think of the silence as equivalent to taking a deep breath. And it’s funny because the sound effect when the scene transitions to the player is just this very intense and layered sound of exhaling. The way the camera also pulls back in the cutscene so that there’s no break from scene to gameplay just makes it so immersive.

Also those two shots we get from Leon and Luis’ perspectives before the gameplay is kinda interesting too. Very “Main Character POV” angle because the camera is positioned at the guys’ eye level, as if we the audience are directly in front of them. At that moment we sort of take the place of the characters as the player. The “it’s game time” line is so hype because it actually does feel like it’s being said to us.

I think the writing for the fight itself is way better than in the og. There's a real rhythm to how the conflict happens; a somewhat story structure. The setup, the moment things go to shit, the resolution. The setup happens in the cutscenes and as you're battling the early wave of villagers. The Plaga baddies I see as the first climax, because they only start conveniently popping up around the time you're scrambling to get the new boards. You get them up and there's your sort of downtime, the 'falling action' before things ramp up again.

There’s a clear transition to "the moment things go to shit" phase; it's all the elements working together in the entire segment. You get a visual cue which is the ladder, an auditory cue of the noise upstairs, and then you get the in-game cue from Luis. And the musical cue is particularly what the remake does best. Like often when it wants to change up the pace during a certain part, they'll simplify the track but make it a bit deeper to build up this new adrenaline.

And every big set piece needs constrasty elements to show different perspectives. I believe just the simple imagery of seeing the mob outside as you're constantly having to kick the ladder is so effective because it shows scale. It makes us actually feel that the problem is as big as it is. It's a smart show of perspective especially after starting the fight in a confined area. This part of it was kind of weird in the og. Even though there's a mob, you could always stare out some window and it'll just be a void there (probably due to the graphical limitations).

But before you even trigger the Bull Head dude's cutscene, like again, you already hear an auditory cue of him. Also his addition makes the scene a true "everything is going to shit" moment. You kinda need that enemy as a standout variety. Like the og is iconic but it's very straightforward with the ambience and the enemy encounter. In the remake, everything is an escalating bombardment to the senses. Especially on the first playthrough, at this point you're on your last leg, no heal, no shotgun/rifle ammo left, the cult chanting is overwhelmingly loud now. It's funny but also apt that when Ashley saves the guys, she's enveloped in this holy light. Even the camera angle that's positioned lower looking up visually puts her in a higher position than the audience.

#this post took me out man. it’s also just way longer than my last analysis 💀 #resident evil 4 remake #resident evil 4 #re4r #leon kennedy #re4 remake #luis serra #ashley graham re4 #re4 analysis #re4make