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Been wanting to do another one of these blocking and staging breakdowns for weeks now. Here's a shot that I've always marveled at this shot from Steven Spielberg's HOOK. With blocking, staging and camera movement Spielberg manages to combine 11 compositions or what I'll call here "Shots" into one... shot. What's amazing about this shot is that most people probably wouldn't even notice. And that's a good thing. It's no surprise he went on to make multiple 3D movies, because he really is a master of depth. There's some dollying and by my count, one zoom, but otherwise, this shot is entirely conceived by his use of pan, tilts, actor movement and rack focusing. It's a masterclass in using depth as a tool for storytelling. And on that note, what's so incredible about this shot is how purposeful each composition is in telling the emotional story. As annotated in pink. Hoping to do some non-Spielberg ones soon too, but it's hard to resist because, even though many came before him, I think he's truly the master of this old-school type of blocking and staging. HOOK 1991 - Dir Steven Spielberg - Credit due also to Spielberg's team, DP Dean Cundey, and the actors: Robin Williams, Maggie Smith and Caroline Goodall GLOSSARY of Abbreviations/Terms used: ECU - Extreme Close Up CU - Close Up MCU - Medium Close Up M (or MS) Medium Shot MLS - Medium Long Shot LS - Long Shot ELS - Extreme Long Shot FAVORING: (Who's face is favored by camera) BLOCKING: Where/when the actor positions themself relative to camera/ dramatic beats "SHOT" - (Just using this to say composition or what would be a shot - if there was a cut/setup) #FilmTwitter #spielberg #directingshow more

Scott Jeschke

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86,091 views • 2 years ago •via X (Twitter)

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11 Comments

Jesse Koepke2 years ago

I freaking loved Hook as a kid growing up. This part of the movie is so visceral. And this shot... a different director would have inserts for all of it, but Spielberg's ability to keep you in the moment with one shot is pure cinema.

Scott Jeschke2 years ago

It's so good! That movie proved to me that rotten tomatoes is a failed system, because it's objectively a great/iconic movie.

Tim Partridge2 years ago

Production designed for the shot, too. The window crack the camera films through is a near solid rectangle, to accommodate the anamorphic frame. The foreground dimpled glass allows for halated backlit bokeh, isolating Peter as you say, & underlining the scenes fairytale turn.

Mr. Morales & the big steppers’2 years ago

Continue to do more!!! Which other directors as wel!!! 🔥🔥

Scott Jeschke2 years ago

Thanks! Will do

Matthew Paul2 years ago

The worst thing? Spielberg said he doesn't start a days shooting with a list. He just comes up with these compositions on the day, trusting his instinct. The man knows how to draw the eye with movement and say so much without any words.

Scott Jeschke2 years ago

It's truly depressing how intuitive this is for him

Jason Brenizer2 years ago

Spielberg is a maestro of blocking. And the camera man is dancing with the actors.

Scott Jeschke2 years ago

Agreed

PopcornFlix2 years ago

At the DGA tribute to Spielberg, James Cameron called these shots “developing masters.”

Scott Jeschke2 years ago

I prefer that to "oners". To me these aren't really oners since they don't cover an entire scene.

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I give a lot of love to Spielberg for his blocking, but here's some really nice evolving blocking and staging from Robert Eggers and Jarin Blaschke, who, from my understanding, work closely together to conceive of these shots in prep. I love the Spielbergian use of depth and foreground-versus-background groupings relative to the camera. The simplicity of the camera staging also reminds me a bit of some of the staging in Gone with the Wind. Lots of really nice shots like this in this film, but this one really stood out for me in the theater. Nosferatu - 2024 Kudos to-- Director: Robert Eggers Director of Photography: Jarin Blaschke "A" Camera Operator: Jan Cabalka First Assistant "A" Camera: Ashley Bond Second Assistant "A" Camera: Tomáš Kutlák Dolly & Grip Department Dolly Grip: Dan Chladek Key Grip: Robert Kodera Actors: Willem Dafoe Ralph Ineson Aaron Taylor Johnson Anna Harding GLOSSARY of Abbreviations/Terms used: ECU - Extreme Close Up CU - Close Up MCU - Medium Close Up M (or MS) Medium Shot MFS - Medium Full Shot FS - Long Shot ELS - Extreme Long Shot FAVORING: (Who's face is favored by camera) BLOCKING: Where/when the actor positions themself relative to camera/ dramatic beats STAGING: Arrangement and composition of visual elements within a frame, including actors, set design, props, lighting, and camera positioning If you liked this, check out my Spielberg ones! #filmmaking #cinematography #roberteggers

I give a lot of love to Spielberg for his blocking, but here's some really nice evolving blocking and staging from Robert Eggers and Jarin Blaschke, who, from my understanding, work closely together to conceive of these shots in prep. I love the Spielbergian use of depth and foreground-versus-background groupings relative to the camera. The simplicity of the camera staging also reminds me a bit of some of the staging in Gone with the Wind. Lots of really nice shots like this in this film, but this one really stood out for me in the theater. Nosferatu - 2024 Kudos to-- Director: Robert Eggers Director of Photography: Jarin Blaschke "A" Camera Operator: Jan Cabalka First Assistant "A" Camera: Ashley Bond Second Assistant "A" Camera: Tomáš Kutlák Dolly & Grip Department Dolly Grip: Dan Chladek Key Grip: Robert Kodera Actors: Willem Dafoe Ralph Ineson Aaron Taylor Johnson Anna Harding GLOSSARY of Abbreviations/Terms used: ECU - Extreme Close Up CU - Close Up MCU - Medium Close Up M (or MS) Medium Shot MFS - Medium Full Shot FS - Long Shot ELS - Extreme Long Shot FAVORING: (Who's face is favored by camera) BLOCKING: Where/when the actor positions themself relative to camera/ dramatic beats STAGING: Arrangement and composition of visual elements within a frame, including actors, set design, props, lighting, and camera positioning If you liked this, check out my Spielberg ones! #filmmaking #cinematography #roberteggers

Scott Jeschke

23,355 views • 2 months ago

This blocking and camera movement breakdown is from Steven Spielberg's Minority Report. This one's a little different because it's a steadicam shot so the compositions flow very quickly at times. I don't like to call ALL of Spielberg's multi-composition shots oners because, typically, they are just old-school blocking, staging and cam movement. Actor's moving at specified dramatic blocks, and the camera moving to reframe for unique compositions, that these day's would more likely be broken into shots on most films. This one could arguably be called a oner though since it's a full scene in one continuous shot. I count 11 compositions in this steadicam shot. Minority Report - 2005 Credit due also to Spielberg's team, Janusz Kaminski (DP), and the Steadicam operator Gregory Lundsgaard (per IMDB). #filmtwitter #spielberg #directing #steadicam #MinorityReport

This blocking and camera movement breakdown is from Steven Spielberg's Minority Report. This one's a little different because it's a steadicam shot so the compositions flow very quickly at times. I don't like to call ALL of Spielberg's multi-composition shots oners because, typically, they are just old-school blocking, staging and cam movement. Actor's moving at specified dramatic blocks, and the camera moving to reframe for unique compositions, that these day's would more likely be broken into shots on most films. This one could arguably be called a oner though since it's a full scene in one continuous shot. I count 11 compositions in this steadicam shot. Minority Report - 2005 Credit due also to Spielberg's team, Janusz Kaminski (DP), and the Steadicam operator Gregory Lundsgaard (per IMDB). #filmtwitter #spielberg #directing #steadicam #MinorityReport

Scott Jeschke

220,957 views • 2 years ago

Another great bit of blocking, staging, and subtle camera movement in Steven Spielberg's A.I. Artificial Intelligence to continually reshape this moving master shot. Arguably six unique compositions in one. What I always love about these shots is the way in which they are intentionally telling an evolving story. This film often uses perpendicularly connected room layouts to enable a number of these kinds of evolving shots. Love it. A.I. Artificial Intelligence - 2001 Dir Steven Spielberg - Credit due also to Janusz Kaminski, the actors, and the talented dolly grips and camera team #FilmTwitter #directing #spielberg

Another great bit of blocking, staging, and subtle camera movement in Steven Spielberg's A.I. Artificial Intelligence to continually reshape this moving master shot. Arguably six unique compositions in one. What I always love about these shots is the way in which they are intentionally telling an evolving story. This film often uses perpendicularly connected room layouts to enable a number of these kinds of evolving shots. Love it. A.I. Artificial Intelligence - 2001 Dir Steven Spielberg - Credit due also to Janusz Kaminski, the actors, and the talented dolly grips and camera team #FilmTwitter #directing #spielberg

Scott Jeschke

67,939 views • 1 year ago

3rd Breakdown of Steven Spielberg's blocking, camera movement, and staging in Munich. This one is fascinating because he uses the car to dolly, the lens to zoom, and Eric Bana's blocking to stitch 4 shots into 1. It's so low tech but it's exquisite. It's also a reminder to throw out the rules. I don't think it's natural to crouch beside a car, but it works because it looks great. This of course might be a negotiation with your actors, as the blocking needs to feel truthful for them to sell it, but IMO sometimes it's okay to just make a shot look cool. #FilmTwitter #spielberg

3rd Breakdown of Steven Spielberg's blocking, camera movement, and staging in Munich. This one is fascinating because he uses the car to dolly, the lens to zoom, and Eric Bana's blocking to stitch 4 shots into 1. It's so low tech but it's exquisite. It's also a reminder to throw out the rules. I don't think it's natural to crouch beside a car, but it works because it looks great. This of course might be a negotiation with your actors, as the blocking needs to feel truthful for them to sell it, but IMO sometimes it's okay to just make a shot look cool. #FilmTwitter #spielberg

Scott Jeschke

109,634 views • 2 years ago

(4/4) One more blocking and camera move breakdown from Steven Spielberg's Munich for today. This shot is truly insane. Essentially 6 "shots" in 1 (or rather compositions) As to how they did the dolly move in a car (My guess the car was split in half and flown in and out, or maybe there is compositing with the mirrors) that's above my pay-grade, and some things are just best left to movie-magic. Gonna do some other films soon! Thanks for watching and sharing. Munich 2005 Dir Steven Spielberg DoP Janusz Kaminski

(4/4) One more blocking and camera move breakdown from Steven Spielberg's Munich for today. This shot is truly insane. Essentially 6 "shots" in 1 (or rather compositions) As to how they did the dolly move in a car (My guess the car was split in half and flown in and out, or maybe there is compositing with the mirrors) that's above my pay-grade, and some things are just best left to movie-magic. Gonna do some other films soon! Thanks for watching and sharing. Munich 2005 Dir Steven Spielberg DoP Janusz Kaminski

Scott Jeschke

82,335 views • 2 years ago

Here's a fun one. 4 compositions in 1 shot in Steven Spielberg's Minority Report. I like this shot for how it utilizes depth. It's all pans, tilts and focus pulls. There are no zooms, tracks, etc, and yet it's dynamic and tells the story in a really effective way. We don't see Anderton's face, and yet we picture it so clearly. It's so simple but very smartly conceived. God bless the focus puller though! By the way, with these breakdowns, I know I'm far from the first to talk about these multi-composition shots/ blocking and camera work from Spielberg. I'm not presuming to be. And I'm fairly certain every notable director ever has studied these shots for years, as I have. It's nothing new. For me, it's simply an exercise in dissecting it for myself and understanding the shots better. I'm not saying that the shots were necessarily constructed/conceived in the exact way they are deconstructed. I'm just having fun, and sharing for those who are also curious. Minority Report - 2005 Credit due also to Spielberg's team, Janusz Kaminski, and the actors, Tom Cruise and Steve Harris. #filmtwitter #spielberg #directing #tomcruise #MinorityReport

Here's a fun one. 4 compositions in 1 shot in Steven Spielberg's Minority Report. I like this shot for how it utilizes depth. It's all pans, tilts and focus pulls. There are no zooms, tracks, etc, and yet it's dynamic and tells the story in a really effective way. We don't see Anderton's face, and yet we picture it so clearly. It's so simple but very smartly conceived. God bless the focus puller though! By the way, with these breakdowns, I know I'm far from the first to talk about these multi-composition shots/ blocking and camera work from Spielberg. I'm not presuming to be. And I'm fairly certain every notable director ever has studied these shots for years, as I have. It's nothing new. For me, it's simply an exercise in dissecting it for myself and understanding the shots better. I'm not saying that the shots were necessarily constructed/conceived in the exact way they are deconstructed. I'm just having fun, and sharing for those who are also curious. Minority Report - 2005 Credit due also to Spielberg's team, Janusz Kaminski, and the actors, Tom Cruise and Steve Harris. #filmtwitter #spielberg #directing #tomcruise #MinorityReport

Scott Jeschke

35,195 views • 2 years ago

Zack Snyder: "When you make a movie, a lot of times you take a second camera, and if the actors are talking, you stick a second camera in there to try and get a close up or something like that to make it move along faster. "That second camera normally suffers a little bit in its composition design just because it's not the primary focus, but for this movie, it's a one camera show." Larry Fong: "His shots are so designed, so it's hard to kind of get a B camera just somewhere to get another shot. He won't use it. When you're doing 180 degree dolly moves and stuff, I mean, where do you put the other camera? "It's great for me because that means I can make each shot the way I want it to without compromising, which you usually do when you have two."

Zack Snyder: "When you make a movie, a lot of times you take a second camera, and if the actors are talking, you stick a second camera in there to try and get a close up or something like that to make it move along faster. "That second camera normally suffers a little bit in its composition design just because it's not the primary focus, but for this movie, it's a one camera show." Larry Fong: "His shots are so designed, so it's hard to kind of get a B camera just somewhere to get another shot. He won't use it. When you're doing 180 degree dolly moves and stuff, I mean, where do you put the other camera? "It's great for me because that means I can make each shot the way I want it to without compromising, which you usually do when you have two."

Zack Snyder Film

88,556 views • 8 months ago

It's no secret that Michael Bay likes to shoot his films with as much practical effects as possible. In #Transformers (2007) there is a shot where Optimus Prime and Megatron crash through a building, this shot was done practically using a miniature at 1/4 scale by ILM. Doing this shot practically allowed them to get the randomness of the destruction without having to do expensive simulations. The CG robots were then added into the shot to merge the photographic plate with the CG elements. When doing live-action films, it is always a good idea to shoot physically as much as possible. This provides the VFX artists with real world reference to ground their work in and allows them to compliment the shot with CG elements. One of the reasons the original Transformers trilogy looks so good is because of the incredible blend of practical and digital effects. It is difficult to watch the film and spot what is real and what is CG. ILM VFX Supervisor Scott Farrar talks through how this scene was pulled off:

It's no secret that Michael Bay likes to shoot his films with as much practical effects as possible. In #Transformers (2007) there is a shot where Optimus Prime and Megatron crash through a building, this shot was done practically using a miniature at 1/4 scale by ILM. Doing this shot practically allowed them to get the randomness of the destruction without having to do expensive simulations. The CG robots were then added into the shot to merge the photographic plate with the CG elements. When doing live-action films, it is always a good idea to shoot physically as much as possible. This provides the VFX artists with real world reference to ground their work in and allows them to compliment the shot with CG elements. One of the reasons the original Transformers trilogy looks so good is because of the incredible blend of practical and digital effects. It is difficult to watch the film and spot what is real and what is CG. ILM VFX Supervisor Scott Farrar talks through how this scene was pulled off:

Rassoul Edji

513,295 views • 1 year ago

Joe Rogan reacts to Alex Pereira claiming the referee allowed illegal shots to the back of his head during his loss to Ciryl Gane. Joe Rogan: And even like feinting takedowns, it's not like he committed to those, but he's got him thinking about it. Look how he drops him with that body shot, body shot into it. Now here's the question, because one of the things that Pereira is saying is a lot of... there's an illegal shot. A lot of the shots were illegal to the back of the head. But a lot of them were to the side of the head. Justin Gaethje: Those are close. Trevor Wittman: They're close, because the first one... Justin Gaethje: When they explain it to you, it's... Can you turn? It's a two-inch line down, like a mohawk. This whole apron right here. But it's like, this is legal, this is legal, this is legal, this is illegal. Legal, illegal. Joe Rogan: I mean, a couple of those shots definitely landed illegally, but there's also...

Joe Rogan reacts to Alex Pereira claiming the referee allowed illegal shots to the back of his head during his loss to Ciryl Gane. Joe Rogan: And even like feinting takedowns, it's not like he committed to those, but he's got him thinking about it. Look how he drops him with that body shot, body shot into it. Now here's the question, because one of the things that Pereira is saying is a lot of... there's an illegal shot. A lot of the shots were illegal to the back of the head. But a lot of them were to the side of the head. Justin Gaethje: Those are close. Trevor Wittman: They're close, because the first one... Justin Gaethje: When they explain it to you, it's... Can you turn? It's a two-inch line down, like a mohawk. This whole apron right here. But it's like, this is legal, this is legal, this is legal, this is illegal. Legal, illegal. Joe Rogan: I mean, a couple of those shots definitely landed illegally, but there's also...

Ruzy.hl

546,356 views • 3 months ago

Edgar Wright on his favourite shot in 'Black Narcissus' (1947): "I think 'Black Narcissus' (1947) is one of the greatest colour movies of all time. There is one particular shot towards the end of the film with Kathleen Byron, which, in my head, that is probably minutes of film, when in reality the shot is only on screen for less than two seconds And it's a shot of Kathleen Byron coming through a doorway, and it's part of an incredible climax, which I won't spoil if you've never seen the film. But it's one of those shots in Cinema that is ingrained on my brain. Like a lot of Powell and Pressburger films, I think it's just [has] a picturesque quality to it which is just somehow difficult to pinpoint exactly what the magic of Powell and Pressburger together is. But I think the thing is sometime these are the films that you keep returning to, is you can't kind of define exactly what it is about the film that keeps you obsessed, you just keep coming back. And this is one of those movies." ('Edgar Wright’s Closet Picks', Criterion, 2025)

Edgar Wright on his favourite shot in 'Black Narcissus' (1947): "I think 'Black Narcissus' (1947) is one of the greatest colour movies of all time. There is one particular shot towards the end of the film with Kathleen Byron, which, in my head, that is probably minutes of film, when in reality the shot is only on screen for less than two seconds And it's a shot of Kathleen Byron coming through a doorway, and it's part of an incredible climax, which I won't spoil if you've never seen the film. But it's one of those shots in Cinema that is ingrained on my brain. Like a lot of Powell and Pressburger films, I think it's just [has] a picturesque quality to it which is just somehow difficult to pinpoint exactly what the magic of Powell and Pressburger together is. But I think the thing is sometime these are the films that you keep returning to, is you can't kind of define exactly what it is about the film that keeps you obsessed, you just keep coming back. And this is one of those movies." ('Edgar Wright’s Closet Picks', Criterion, 2025)

DepressedBergman

271,292 views • 10 months ago

the camera being in a tight close up on both ilya and shane for the entirety of this scene, except for the moment when ilya is working up the courage to say he’s in love. it’s like for the whole conversation it’s just the two of them, there’s nobody else who matters, and then for a brief moment the shot widens as ilya considers the implications of the fact he’s in love with shane. the fact that the rest of the world DOES matter and will always be a presence in their relationship. we’ve been held in this moment between the two of them and by widening the shot, that intimacy is broken just for a second as we’re reminded that there is a world beyond the two of them and ilya is still in russia. what he’s doing is incredibly dangerous. then the camera tightens back into a close up as he realises he needs to say it anyway because all that matters is that he’s on the phone with shane and he’s in love with him. it really is just the two of them in this moment and he doesn’t want to let anyone else in.

the camera being in a tight close up on both ilya and shane for the entirety of this scene, except for the moment when ilya is working up the courage to say he’s in love. it’s like for the whole conversation it’s just the two of them, there’s nobody else who matters, and then for a brief moment the shot widens as ilya considers the implications of the fact he’s in love with shane. the fact that the rest of the world DOES matter and will always be a presence in their relationship. we’ve been held in this moment between the two of them and by widening the shot, that intimacy is broken just for a second as we’re reminded that there is a world beyond the two of them and ilya is still in russia. what he’s doing is incredibly dangerous. then the camera tightens back into a close up as he realises he needs to say it anyway because all that matters is that he’s on the phone with shane and he’s in love with him. it really is just the two of them in this moment and he doesn’t want to let anyone else in.

frances 🏒

294,736 views • 9 months ago

"Steven Spielberg is not honest. I hate Spielberg, because none of his movies are honest. He hates Jews, because he is Jewish. He is fascist, because America is the centre of his world. If I can ki!! Spielberg, I will ki!! Spielberg." --- Alejandro Jodorowsky Full Excerpt: "Jodorowsky: I like Buñuel, because he was always honest. If he had limits, then he would make a limited picture. He always shot at his eye-level, he never put a shot up here, because he was limited, and he agreed to be limited. Bunuel is honest. I like pictures that are honest. Like some Hong Kong pictures — those filmmakers are honest thieves, they are making business, and they are so honest about it, it’s fantastic. But, say, Spielberg is not honest. I hate Spielberg, because none of his movies are honest. His violence is ill, it’s not honest. He shows an ill violence, as though he was the father of history. He hates Jews, because he is Jewish. He is making business with that, with Europe. He is fascist, because America is the centre of his world. If I can ki!! Spielberg, I will ki!! Spielberg. (...) Also, I love Cronenberg, because he is an auteur, he has his obsession. I like him. He is honest. There are a lot of moviemakers I like, and there are others I hate. But what I hate the most is Spielberg. And second Walt Disney. Interviewer: Didn’t you used to hate Walt Disney above all others? Jodorowsky: Yes. But now it’s Spielberg. I think Spielberg is the son from when Walt Disney f**ked Minnie Mouse. And then there was Spielberg." ("The Mole Man: Going Underground with Alejandro Jodorowsky", Damien Love, Bright Lights, 2008) In 2013, Jodorowsky said: "I always say Steven Spielberg is a degenerate, because he was the one who started this trend of making cinema a big spectacle and applauding special effects." ("The films I make go beyond entertainment: Jodorowsky", La Razón, 2013) Clip from: Duel (1971) Director: Steven Spielberg

"Steven Spielberg is not honest. I hate Spielberg, because none of his movies are honest. He hates Jews, because he is Jewish. He is fascist, because America is the centre of his world. If I can ki!! Spielberg, I will ki!! Spielberg." --- Alejandro Jodorowsky Full Excerpt: "Jodorowsky: I like Buñuel, because he was always honest. If he had limits, then he would make a limited picture. He always shot at his eye-level, he never put a shot up here, because he was limited, and he agreed to be limited. Bunuel is honest. I like pictures that are honest. Like some Hong Kong pictures — those filmmakers are honest thieves, they are making business, and they are so honest about it, it’s fantastic. But, say, Spielberg is not honest. I hate Spielberg, because none of his movies are honest. His violence is ill, it’s not honest. He shows an ill violence, as though he was the father of history. He hates Jews, because he is Jewish. He is making business with that, with Europe. He is fascist, because America is the centre of his world. If I can ki!! Spielberg, I will ki!! Spielberg. (...) Also, I love Cronenberg, because he is an auteur, he has his obsession. I like him. He is honest. There are a lot of moviemakers I like, and there are others I hate. But what I hate the most is Spielberg. And second Walt Disney. Interviewer: Didn’t you used to hate Walt Disney above all others? Jodorowsky: Yes. But now it’s Spielberg. I think Spielberg is the son from when Walt Disney f**ked Minnie Mouse. And then there was Spielberg." ("The Mole Man: Going Underground with Alejandro Jodorowsky", Damien Love, Bright Lights, 2008) In 2013, Jodorowsky said: "I always say Steven Spielberg is a degenerate, because he was the one who started this trend of making cinema a big spectacle and applauding special effects." ("The films I make go beyond entertainment: Jodorowsky", La Razón, 2013) Clip from: Duel (1971) Director: Steven Spielberg

DepressedBergman

715,935 views • 5 months ago

I hate the way modern movies are shot. Here's a scene from the 2024 Netflix movie Damsel, which I just watched last night. Notice how it's basically just two characters talking while looking directly at each other, filmed in a lazy shot/reverse shot fashion where one character will be filmed in a medium shot or close-up, then it will cut to a medium shot or close-up of the other character, and it just goes back and forth like that until they're done talking and one of them leaves. Notice how they have this interesting location where a lot could be going on, but one of the characters is just kind of fucking around, pretending to do something with the flowers until it's time for the other character to start talking to them, then when they're done talking, she just leaves instead of continuing whatever it was she was doing when the other character came in. It's like the scene was written with only dialog, and they didn't have anything in mind for the characters to be doing other than talking, so the director just told that one lady to fuck around with the flowers until the other actress made it to her mark so it wouldn't just start with her standing around. The context of this scene is one character is realizing the other character is hiding something sinister. Until this point, we don't know that the lady on the left is evil and is taking advantage of the lady on the right. The scene starts with Bad Lady up on the platform, which physically places her higher in the scene; a visually dominant position. But then Good Lady steps up onto the platform with her, visually putting them on equal footing, which contradicts the purpose of the scene. They could have had Good Lady looking up at Bad Lady from below, then at the critical moment, had Bad Lady lean over the rail while talking down to Good Lady, using her body language to convey a sense of power over her. I mean, that's not much, but it would have been something. Most of the talking scenes in this movie are shot this way. It's so bland that I wondered if they used the Volume, but then I found out they actually shot these scenes at real locations. They were given permission to film at these amazing locations, but barely utilized them to their visual storytelling potential.

I hate the way modern movies are shot. Here's a scene from the 2024 Netflix movie Damsel, which I just watched last night. Notice how it's basically just two characters talking while looking directly at each other, filmed in a lazy shot/reverse shot fashion where one character will be filmed in a medium shot or close-up, then it will cut to a medium shot or close-up of the other character, and it just goes back and forth like that until they're done talking and one of them leaves. Notice how they have this interesting location where a lot could be going on, but one of the characters is just kind of fucking around, pretending to do something with the flowers until it's time for the other character to start talking to them, then when they're done talking, she just leaves instead of continuing whatever it was she was doing when the other character came in. It's like the scene was written with only dialog, and they didn't have anything in mind for the characters to be doing other than talking, so the director just told that one lady to fuck around with the flowers until the other actress made it to her mark so it wouldn't just start with her standing around. The context of this scene is one character is realizing the other character is hiding something sinister. Until this point, we don't know that the lady on the left is evil and is taking advantage of the lady on the right. The scene starts with Bad Lady up on the platform, which physically places her higher in the scene; a visually dominant position. But then Good Lady steps up onto the platform with her, visually putting them on equal footing, which contradicts the purpose of the scene. They could have had Good Lady looking up at Bad Lady from below, then at the critical moment, had Bad Lady lean over the rail while talking down to Good Lady, using her body language to convey a sense of power over her. I mean, that's not much, but it would have been something. Most of the talking scenes in this movie are shot this way. It's so bland that I wondered if they used the Volume, but then I found out they actually shot these scenes at real locations. They were given permission to film at these amazing locations, but barely utilized them to their visual storytelling potential.

Possum Reviews

626,320 views • 9 months ago

We generated this scene with just one trial on Seedance Enterprise 2.5. We had run this same shot on other models and it took us around 8 attempts before anything came back usable. Generations are billed one at a time so 8 tries to 1 is the entire cost story. 30 seconds, single shot, no stitching, what used to be a day of rerolling is now a single pass, which means the budget goes into testing new concepts instead of rescuing one. Watch the water as the creature moves through it, and watch the camera fall behind during the escape. The realistic physics, smooth camera motion, and shot consistency all came directly from the model.None of that was added in post. We used Seedream 5.0 for the visual ideation and Seedance 2.5 for the video. Both are running on lumina at 4K, up to 50 references to hold a character or product steady across a shot, and region editing to fix one part of a frame without regenerating the whole thing. Seedance 2.5 API is about to launch on BytePlus, and now you can try it directly on Lumina.

We generated this scene with just one trial on Seedance Enterprise 2.5. We had run this same shot on other models and it took us around 8 attempts before anything came back usable. Generations are billed one at a time so 8 tries to 1 is the entire cost story. 30 seconds, single shot, no stitching, what used to be a day of rerolling is now a single pass, which means the budget goes into testing new concepts instead of rescuing one. Watch the water as the creature moves through it, and watch the camera fall behind during the escape. The realistic physics, smooth camera motion, and shot consistency all came directly from the model.None of that was added in post. We used Seedream 5.0 for the visual ideation and Seedance 2.5 for the video. Both are running on lumina at 4K, up to 50 references to hold a character or product steady across a shot, and region editing to fix one part of a frame without regenerating the whole thing. Seedance 2.5 API is about to launch on BytePlus, and now you can try it directly on Lumina.

Future Stacked

86,430 views • 1 month ago

Candace Owens is now pushing the exploding microphone theory. The “evidence” that she’s using to back her theory is a YouTube video of people using explosives. In the video they mention that the explosive left similar damage to a shot from a .30-06. BUT WAIT ✋ For 9 months Candace and her fans have said there’s no way that Charlie got shot with a .30-06 because it would’ve done more damage. Now they’re saying he was killed by an exploding microphone and the “evidence” they’re using to back up these claims is that an exploding microphone would cause damage similar to .30-06 shot. So what they’re saying is theres no way Charlie was shot by a .30-06 because wounds don’t match that. But he definitely got killed by an exploding microphone that left the same wound as a .30-06 so everyone would be tricked into believing he was shot. I’ve tried to explain the flaw in this logic to Candace’s fans like they’re in kindergarten but they’re too dumb to understand how this totally contradicts everything they’ve been saying.

Candace Owens is now pushing the exploding microphone theory. The “evidence” that she’s using to back her theory is a YouTube video of people using explosives. In the video they mention that the explosive left similar damage to a shot from a .30-06. BUT WAIT ✋ For 9 months Candace and her fans have said there’s no way that Charlie got shot with a .30-06 because it would’ve done more damage. Now they’re saying he was killed by an exploding microphone and the “evidence” they’re using to back up these claims is that an exploding microphone would cause damage similar to .30-06 shot. So what they’re saying is theres no way Charlie was shot by a .30-06 because wounds don’t match that. But he definitely got killed by an exploding microphone that left the same wound as a .30-06 so everyone would be tricked into believing he was shot. I’ve tried to explain the flaw in this logic to Candace’s fans like they’re in kindergarten but they’re too dumb to understand how this totally contradicts everything they’ve been saying.

Cinema Shogun

12,972 views • 3 months ago

Armed Driver Gets Shot By Carjacker, Then This Happened! A man in West Philly was carjacked and shot around seven in the morning. Then he returned fire. That matters because every time one of these stories comes up, somebody says the same thing: “Just give them what they want.” But based on how this carjacking unfolded, there was no clean window for compliance. The gun came out, the driver was already shot, and now the only thing between him and whatever came next was whether he had the ability to fight back. Compliance is not a contract. There is no rule that says if you hand over the keys, the person robbing you at gunpoint is obligated to let you live. A gun does not guarantee you go home. It does not make you bulletproof. There are absolutely moments where drawing is the wrong move. But this man was shot first, still armed, and still in the fight. That is the whole argument.

Armed Driver Gets Shot By Carjacker, Then This Happened! A man in West Philly was carjacked and shot around seven in the morning. Then he returned fire. That matters because every time one of these stories comes up, somebody says the same thing: “Just give them what they want.” But based on how this carjacking unfolded, there was no clean window for compliance. The gun came out, the driver was already shot, and now the only thing between him and whatever came next was whether he had the ability to fight back. Compliance is not a contract. There is no rule that says if you hand over the keys, the person robbing you at gunpoint is obligated to let you live. A gun does not guarantee you go home. It does not make you bulletproof. There are absolutely moments where drawing is the wrong move. But this man was shot first, still armed, and still in the fight. That is the whole argument.

Colion Noir

23,541 views • 21 days ago

Behn: This isn't the end of our story. It's not even close, because what we have built here in this district, this grassroots movement, is part of something bigger that is happening across the south and is happening across this country. Because we are tired of people outside of this state telling us that the south is backwards, that it's hopeless and it's destined to be ruled by the same powerful people again and again. The south is not silent because the south has something to say. And Tennessee, we are leading the way. We have inspired an entire country. They are with us tonight and they are so proud. we’re able to do. And we may not have won tonight, but we changed the story of what's possible here. And we're not done, not by a long shot.

Behn: This isn't the end of our story. It's not even close, because what we have built here in this district, this grassroots movement, is part of something bigger that is happening across the south and is happening across this country. Because we are tired of people outside of this state telling us that the south is backwards, that it's hopeless and it's destined to be ruled by the same powerful people again and again. The south is not silent because the south has something to say. And Tennessee, we are leading the way. We have inspired an entire country. They are with us tonight and they are so proud. we’re able to do. And we may not have won tonight, but we changed the story of what's possible here. And we're not done, not by a long shot.

Acyn

99,437 views • 9 months ago

Tony Parker on Ray Allen’s iconic game 6 shot against him and the Spurs in the 2013 NBA Finals: Tony: “it happened so fast…I wasn’t trying to foul him…I tried to do the best I can to contest one of the best shooters in our league and he made a helluva shot and everytime I look at it — I’m like how did he even make that shot…” Wade: “after practice Ray Allen would always sit on his butt on the block and he would back pedal to the 3PT line…he did this at practice everyday so it was amazing that it was Ray Allen because if it was me it would’ve been a whole different shot…” (via Wy Network by Dwyane Wade)

Tony Parker on Ray Allen’s iconic game 6 shot against him and the Spurs in the 2013 NBA Finals: Tony: “it happened so fast…I wasn’t trying to foul him…I tried to do the best I can to contest one of the best shooters in our league and he made a helluva shot and everytime I look at it — I’m like how did he even make that shot…” Wade: “after practice Ray Allen would always sit on his butt on the block and he would back pedal to the 3PT line…he did this at practice everyday so it was amazing that it was Ray Allen because if it was me it would’ve been a whole different shot…” (via Wy Network by Dwyane Wade)

The HEAT Realm

211,052 views • 5 months ago