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#cinematograpy
mehlsbells · 3 months
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Inspired by @ludm, I wrote (a lot) about Willow.
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lauriemarch · 1 year
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i was sort of disappointed halfway through Everything Everywhere All At Once because the overall message seemed to sum up that nothing really matters and the universe is too big to comprehend but God did i love the ending. everything matters. we are all made of stardust. we can heal each other. this moment and every moment after matters. we are our own universe.
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warningsine · 2 years
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moonchildicons · 9 months
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See You In My 19th Life (2023)
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radio-4-is-static · 11 months
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KANASHIBARI | RADWIMPS ft. ao
「一体何回生まれ変わったら」 悲しみなんかも愛せるのかな 一回こっきりの人生一気して 飛び込んだんだ この世のど真ん中 泣きたくなるような君の笑顔とか 明日みたいに光るその声も 君がいないなら意味なんかないから 君に歌う キ ミ ニ ウタウ Love song
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How many times must I be born before I can learn to love grief? It’s one-time-only life, so I dived in at one go right into the middle Your smile makes me wanna cry, your voice shines like tomorrow It makes no sense if you’re not here, I’ll sing you, I’ll sing you Love song
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poirott · 5 months
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your gifs look so good! but they're a little slow. have you tried speeding them up to 0.05? when you save them from the video timeline window they actually save at 0.07. they'll be even faster sped up a little! anyways, love your blog, definitely a legendary one. xx
Hi! Thank you for the compliments! The frame animation sequences are slower in my gifs on purpose for three reasons: personal preference, for effect and because I've never liked fast-running gifs. :) When giffing a moment from a tv show/movie/celeb appearance I really enjoy (Poirot and other crime shows, the Branagh Poirot trilogy, a Benedict appearance at an event, cast at movie premieres, etc), I prefer 0.08 or 0.07 than 0.06 or 0.05 speed across the board.
I know a lot of gif makers use 0.06 as some sort of "standard" on this site but it honestly comes down to personal choice and style. 0.06 may not suit every scene in every show, and 0.05 can look distracting given its speed, again, depending on the scene. You know how sometimes a fast, busy gif has to loop several times before you can tell what's going on in it?
It's easier for me to take in more details in a gif, like the costumes, sets, cinematograpy, facial expressions, characters' emotions, etc, when said gif is slowed down a bit. Otherwise it can be too quick and "jerky" (like a shaky camera effect) for me to enjoy, similar to those short 5 or 10 or 20-frame sequences in tv/movie trailers that just breeze by because they have too few frames. Once they're slowed down in gif form, you can appreciate them to the full extent.
These B-roll footage gifs of A Haunting in Venice are at 0.07 and 0.08 to fully enjoy the on-location filming moments and behind the scenes footage of Branagh's Poirot. They are slowed down for effect to show off the stunts. Especially when a gif has two action-packed sequences in it, if it runs slower, it's not as headache-y and busy to look at when it's switching from sequence A to sequence B. Some are also pretty dark due to spooky lighting on the sets and your eyes need more time to adjust to take everything in. Trust me, I spend a lot of time deciding what the best speed is for each gif. But most of my gifs are still faster than these.
The following Poirot gif from this gif set is one of my slowest at 0.08 speed, for effect because the point was to focus on Poirot's pleased expression, he looks very sweet tipping his hat at the lady, not expecting a kiss from her for solving the case:
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With the gif sped up to 0.05, I don't think you can catch all the minute details:
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It's just how I personally like my gifs. Most of the time they're 0.07, and 0.08 on occasion. The slower speed lets them "marinate" more. Especially with tumblr's large format HD gifs nowadays, it's fun having such a big canvas to play with and the chance to observe every detail in a frame, when I didn't even notice it at the cinema or when watching the show originally.
Cheers!
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esqueletosgays · 2 years
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BLADE (1998)
Director: Stephen Norrington Cinematograpy: Theo van de Sande
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file-fnd · 10 months
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genloss is my new fave show no exceptions the story and cinematograpy and deeper meaning and the refrences and pacing and like UGHH
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occult-roommates · 11 months
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5 fun facts about Kino
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Nobody asked this time, but I’m gonna just do fun facts for all my characters. I don’t know if the face glitch is fixed yet cause I haven’t heard any news from it so might as well do this in the mean time...
1) Back on their home planet, Kino had been leaving a painfully average life, and one of the reason why they accepted the Earth “peaceful exploration” mission was to break away from this. It has also been mentionned before Kino just had a deep fascination with humans in the first place, pretty much ever since hearing about them as a child in school. That is, even if they don’t always understand them.
2) Their name is pronounced kee-no, like Kim (which is pretty much why their human form uses Kim as a pseudonym). Also fun fact kino means movie in several languages such as Russian. Specifying in case someone pronounces the ki like says...Kyle. Their whole name, Kino Gurafee, is a play on the word cinematograpy actually. There is no reason for that, I just felt like it. 
3) They don’t have a job but the government agent who discovered them in the desert send them monthly money and pays for their sociology degree. Though now that they have a baby and they’ve been threatened from having their child taken away if they were to have a baby with an Earthling in order to experiment on the baby, it might be time for them to cut ties with the agent.
4) Kino has tried listening to multiple genre of music, but they just haven’t found any Earthling music that sounds good to their fragile Sixamian ears. It reached a point they regret not bringing any music tapes from Sixam with them...I mean, realistically the tapes would probably have been destroyed in the crash of their spaceship but if they managed to survive it why not the tapes?
5) Back on Sixam, they were pretty much seen like those people who wanna have sex with aliens, though really it’s pretty obvious there is only one specific type of human they find attractive. Which is: a dark skinned woman with blue hair. Or at least anyone who’s kinda feminine since they didn’t really grew up with the concept of men and women anyway. Also, unlike humans who have a thing for aliens, at least Sixamians know for a fact Earthlings were real so it’s like, a little bit less weird though widely considered impossible to achieve.
So yeah, these were some fun facts about Kino. Which means Akva is up next.
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thousand-page-dreams · 11 months
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Finished watching School Spirits. I mostly enjoyed it. Various thoughts, spoiler free:
- I like that they didn't go the romantic route with Simon and Maddie.
- I don't think the show was a cinematic master piece nor am I an expert on cinematograpy, but there were certain shots I really enjoyed. (The window conversation at the end of the pilot, for starters)
- One of the few shows where I didn't accidentally spoil myself :)
- I didn't always feel like the comedy landed, like there's one awkward conversation about read receipts in the pilot.
- At the start of the show, I didn't find the other ghosts that interesting but as the story went on, I started to really enjoy their characters, particularly Rhonda.
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byneddiedingo · 1 year
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Emiko Yagumo and Tokihiko Okada in That Night's Wife
Tatsuo Saito in I Flunked, But....
Tokihiko Okada in Tokyo Chorus
Early Ozu
The films of Yasujiro Ozu are the perfect exemplar of that powerful task of motion pictures: to enlarge human sympathies. Ozu typically does it by working in his characteristic milieu: the family. Most of us have families, and when we don't (or when we recognize intolerable flaws in the ones we find ourselves in), we form something to substitute for them: clubs, cliques, fraternities, political parties. These three silent movies, lesser or little-known parts of Ozu's oeuvre, shine with their director's deep understanding of human connections. They also document the impact of the Great Depression, not just on Japan but on daily lives around the world. Two of them are about actual nuclear families, the other about a kind of surrogate family. They range from crime melodrama to slapstick comedy to a domestic drama threaded through with humor. All of them reveal Ozu's knowledge of American genre film as well as his ability to transform the generic into the personal. That Night's Wife (1930)
Cast: Mitsuko Ichimura, Tokihiko Okada, Chishu Ryu, Tatsuo Saito, Emiko Yagumo, Togo Yamamoto. Screenplay: Kogo Noda, based on a novel by Oscar Schisgall. Cinematography: Hideo Shigemura.  That Night's Wife begins with a touch of gangster film as we watch the police patrolling the nighttime streets, rousting a homeless man from his perch between the towering columns of a building, then witness a daring robbery of an office by a man masked with a bandanna and the police pursuit that follows. But we gradually learn that the man (Tokihiko Okada) has committed the robbery because he has a sick child and can't pay the doctor. Most of the film takes place in his small apartment, where his wife (Emiko Yagumo) is tending to the child, who the doctor says will be all right if she survives the night. Then a detective (Togo Yamamoto), who has posed as a cab driver and brought the man home, arrives. There's a standoff between the couple and the detective in which, after trying to stay awake all night, the detective prevails. But the film ends with an unexpected turn that in other hands might come off as sheer sentimentality but in Ozu's manages to feel like the working out of an ethical dilemma. I Flunked, But.... (1930)
Cast: Tatsuo Saito, Kaoru Futaba, Kinuyo Tanaka, Tomio Aoki. Screenplay: Akira Fujimi, Yasujiro Ozu. Cinematograpy: Hideo Shigehara. Production design: Yonekazu Wakita. Film editing: Hideo Shigehara. 
I Flunked, But.... is almost a tonal antithesis to That Night's Wife, a lively comedy about college students trying to pass their college exams by cheating. It centers on a group of five who live together as a surrogate family, looked over by their landlady (Kaoru Futaba), a pretty waitress (Kinuyo Tanaka) in the next-door cafe, and the landlady's small son (Tomio Aoki). One of the techniques they use to cheat is to have one of the group write out the answers on the back of his shirt: that way, the student sitting behind him can lift up the other's jacket and copy what's written. Unfortunately, the landlady picks up the cheat shirt with the other laundry and the plot is foiled. Moreover, Takahashi (Tatsuo Saito), the student chosen to wear the shirt, is the only one who fails the exam. But it turns out a year later that the others who graduated have been unable to find jobs, so Takahashi is no worse off than they. Just as That Night's Wife displayed the influence of American gangster films, I Flunked, But.... shows that Ozu had seen American films about college students, like Harold Lloyd's The Freshman (Fred C. Newmeyer and Sam Taylor, 1925). Ozu's college students hang banners from American universities like Michigan and Yale on their walls, along with American movie posters -- which are also a striking presence on the walls of the couple in That Night's Wife, whose protagonist seems to be an artist of some sort. But I Flunked, But.... is most notable for the sense of camaraderie among its students, who practice their own brand of silly walks and comic dances. Tokyo Chorus (1931)
Cast: Tokihiko Okada, Emiko Yagumo, HIdeo Sugawara, Hideko Takamine, Tatsuo Saito, Choko Iida, Takeshi Sakamoto, Reiko Tani, Chishu Ryu. Screenplay: Kogo Noda, based on a novel by Komatsu Kitamura. Cinematography: Hideo Shigehara. Film editing: Hideo Shigehara. 
Tokyo Chorus is the most subtle and complex of the three films, and it serves as a kind of unintended linking between the other two: It begins with a group of college students gathering to rehearse some kind of drill routine under the direction of a teacher, Mr. Omura (Tatsuo Saito). It's a rebellious group, and one of the ringleaders is Shinji (Tokihiko Okada). Some years later, we find Shinji as the father of three small children, the oldest of whom, a boy (Hideo Sugawara), demands a bicycle for his birthday. (Children in Ozu's films are often bossy little brats.) But Shinji has a quixotic streak, and when he learns that one of his fellow employees, a man just a year away from retirement, has been fired, he confronts the boss and gets fired, too. (There is a very funny scene in which Shinji and the boss angrily poke at each other with folding fans.) Things go from bad to worse for Shinji's family -- his wife (Emiko Yagumo) is upset when he has to sell her kimonos to pay hospital bills after their daughter gets sick. The Depression has deepened -- there is an English subtitle that refers to the failure of  "Hoover's policies," which makes me wonder if that was an exact translation. One day, after a disappointing visit to the employment office, Shinji runs into Mr. Omura, who has quit teaching and now runs a restaurant, The Calorie Café, which serves large, filling portions of curry rice. If Shinji will come help him at the restaurant, Omura says, he'll use his connections with the Department of Education to try to find Shinji a job. Shinji's wife is shocked to find her husband walking the streets with a large banner and handing out leaflets advertising the café, but when she realizes how desperate he has become, she too agrees to help out at the restaurant. All ends well when Omura's old students gather for dinner at the Calorie Café and Omura reveals that he has come through with a job for Shinji. It means that Shinji and his family will have to move to a remote corner of Japan, but they reassure themselves that they'll be able to return to Tokyo some day. 
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So no one was going to tell me how fucking amazing Goncharov’s cinematograpy is? I finally got around to watching it, and the camera never seems to move within shots, so every shot of the movie ends up looking like a photograph, and that’s just brilliant. It captures a sense of distant between the audience and the events on screen, mirroring the emotional distance between Goncharov and Katya and limiting us in the way that Goncharov feels limited, unable to move on from his past.
You can tell so much just from how the film is shot, it’s genuinely brilliant.
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lauriemarch · 3 years
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my poster redesign for Emma. (2020) dir. Autumn de Wilde
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thebopkabbalah · 3 years
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Landscapes in the Justin Kurzel’s Macbeth (2015)
(a film that manages to capture the Shakespearean text’s mood, but stumbled so heavily and so often in characterization and focus that it could not really do justice to the play at all; however, some of the landscapes stayed with me in my second watch so here they are)
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sailorsally · 3 years
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SPN Cinematography - S9 E4
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starship2011 · 5 years
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“Hi, are you interested in saving the planet?”
The Guy Who Didn’t Like Musicals (2018) dir. Nick Lang
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