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This hypnotic, soundtrack only sequence from Patlabor 2 (1993) is Mamoru Oshii's own unique brand of mise-en-scene. The framing & composition are all richly cinematic as though shot through a live-action camera, with some really interesting use of reflections and silhouettes.

blauereiter

33,818 subscribers

623,527 просмотров • 3 лет назад •via X (Twitter)

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Комментарии: 8

Фото профиля blauereiter

blauereiter3 лет назад

I always think of this sequence as kind of a precursor and practice dry run for the NIGHTSTALKER sequence from his magnum opus Ghost In The Shell -

Фото профиля blauereiter

blauereiter3 лет назад

Of course, I'll be remiss not to mention the pivotal role of composer Kenji Kawai's astounding soundtrack in Mamoru Oshii's animation films.

Фото профиля Temporary Location

Temporary Location3 лет назад

Those slice of life scenes in both Patlabors and Ghost in the Shell are some my favourite scenes in films. Have you read @anime_gaku essays on the production of the Patlabors? V good

Фото профиля blauereiter

blauereiter3 лет назад

@anime_gaku I have not, but I should ! Thanks for the recs !

Фото профиля Alex

Alex3 лет назад

@erlsn I believe all three Patlabor movies have beautiful little scenes like this, catching the zeitgeist of an alternate timeline Tokyo.

Фото профиля blauereiter

blauereiter3 лет назад

@erlsn Zeitgeist ! Couldn't have worded it better ! 🤌

Фото профиля Jollyroger At Times

Jollyroger At Times3 лет назад

Patlabor 2 is a stunning movie, it is unfortunate that it’s not as well known as some other titles. The photography is amazing.

Фото профиля Jacob Davison

Jacob Davison3 лет назад

@slimyswampghost The bit with the school kids waving to the tank driver and the driver waving back have stuck with me since I first saw the movie.

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Ghost In The Shell is packed full of memorable scenes, but the one that really impressed was the lengthy locked camera shot of the Major's bedroom during the opening. Mamoru Oshii had absolute confidence in his mise-en-scène to hold the viewer's attention. Certainly held mine.

Ghost In The Shell is packed full of memorable scenes, but the one that really impressed was the lengthy locked camera shot of the Major's bedroom during the opening. Mamoru Oshii had absolute confidence in his mise-en-scène to hold the viewer's attention. Certainly held mine.

blauereiter

250,547 просмотров • 3 лет назад

Bresson: “For me, the order and position of characters and the framing of a shot are the essence of cinema. They’re much more important than the simple, dramatic action, which is only revealed through the form the shot takes. In cinema, what matters is the form,.. 1/2

Bresson: “For me, the order and position of characters and the framing of a shot are the essence of cinema. They’re much more important than the simple, dramatic action, which is only revealed through the form the shot takes. In cinema, what matters is the form,.. 1/2

DJ

30,908 просмотров • 3 месяцев назад

I present to you, the best anime opening sequence ever made - Patlabor 2 : The Movie. The clip posted by OP below is the preamble before the opening sequence kicks in and sets the premise for the film.

I present to you, the best anime opening sequence ever made - Patlabor 2 : The Movie. The clip posted by OP below is the preamble before the opening sequence kicks in and sets the premise for the film.

blauereiter

293,931 просмотров • 1 год назад

KLING ELEMENTS → More tests. Subject + Environment + Object. KLING PROMPT EX: A cinematic tracking shot of a beautiful woman wearing black swimwear, a black coverup skirt, and a feathered headdress, walking out of a stunning Morrocan hotel doorway down a tiled path toward the camera. She is strutting with extreme confidence as she walks towards the camera. As she comes close, the scene reveals she is walking towards A smokey blue lamborghini in the hotel entrance. The car is shiny with immaculate reflections. Shot in cinematic 4k. #midjourney #kling Kling AI

KLING ELEMENTS → More tests. Subject + Environment + Object. KLING PROMPT EX: A cinematic tracking shot of a beautiful woman wearing black swimwear, a black coverup skirt, and a feathered headdress, walking out of a stunning Morrocan hotel doorway down a tiled path toward the camera. She is strutting with extreme confidence as she walks towards the camera. As she comes close, the scene reveals she is walking towards A smokey blue lamborghini in the hotel entrance. The car is shiny with immaculate reflections. Shot in cinematic 4k. #midjourney #kling Kling AI

Rory Flynn

106,329 просмотров • 1 год назад

Genji Dawn of the Samurai, there were plenty of Samurai games from the PS2 in which you can do some really cool stuff like they do in this game Hack and Slash action game with its own unique twist, PS2 is just full of fun action game gems, I want em all on PS Classics

Genji Dawn of the Samurai, there were plenty of Samurai games from the PS2 in which you can do some really cool stuff like they do in this game Hack and Slash action game with its own unique twist, PS2 is just full of fun action game gems, I want em all on PS Classics

GamesLover with a Preference

39,456 просмотров • 1 год назад

Made with seedance 2.5 Prompt: Create a highly cinematic, realistic action sequence inside a crowded traditional Asian wet market during heavy rain and flooding. A young Asian woman with long dark wet hair, wearing a pink waterproof rain suit and black rubber boots, runs rapidly through the narrow market aisles while trying to escape from a massive rushing wave of water behind her. The market is packed with seafood and vegetable stalls, plastic crates, fish tanks, metal counters, hanging tarps, fluorescent ceiling lights, vendors and crowds. The floor is completely flooded with ankle-to-knee-deep dirty rainwater, creating strong reflections and splashes everywhere. Water violently rushes through the market, knocking over crates and flooding the stalls. Start with a close-up tracking shot of the frightened woman looking back over her shoulder while running. Follow her with a fast handheld camera as she runs through the narrow aisle. Use dynamic low-angle shots close to the water, capturing her boots hitting the flooded floor and creating dramatic splashes. Show water crashing through the market behind her, people running in panic, overturned crates floating in the water, and objects being swept away. Use realistic physics, natural human movement, detailed wet clothing, wet hair sticking to her face, realistic water droplets, splashes, reflections and motion blur. The camera should move dynamically with fast tracking shots, low-angle shots, side tracking shots and occasional wide shots revealing the scale of the flooding. At one point, show the woman jumping over obstacles and running across a market counter/raised surface while the floodwater continues rushing behind her. Keep her appearance, hairstyle, pink outfit and facial features consistent throughout the entire sequence. Dark cinematic atmosphere, overcast rainy lighting, cool blue-gray tones mixed with warm fluorescent market lights, dramatic contrast, realistic skin texture, photorealistic environment, volumetric lighting, atmospheric mist, cinematic depth of field, subtle film grain, high-detail textures, realistic reflections and physically accurate water simulation. The sequence should feel like a high-budget survival/action movie, extremely immersive and intense, with realistic camera shake and fast-paced movement. Add large cinematic white brush-stroke typography reading “RUN” briefly across the center of the screen during the action sequence. Photorealistic, ultra-detailed, cinematic Hollywood-style action scene, realistic physics, natural motion, 4K film quality, anamorphic lens look, dynamic composition, dramatic pacing, no cartoon look, no CGI appearance, no distorted anatomy, no extra fingers, no duplicated people, no face changes.

Made with seedance 2.5 Prompt: Create a highly cinematic, realistic action sequence inside a crowded traditional Asian wet market during heavy rain and flooding. A young Asian woman with long dark wet hair, wearing a pink waterproof rain suit and black rubber boots, runs rapidly through the narrow market aisles while trying to escape from a massive rushing wave of water behind her. The market is packed with seafood and vegetable stalls, plastic crates, fish tanks, metal counters, hanging tarps, fluorescent ceiling lights, vendors and crowds. The floor is completely flooded with ankle-to-knee-deep dirty rainwater, creating strong reflections and splashes everywhere. Water violently rushes through the market, knocking over crates and flooding the stalls. Start with a close-up tracking shot of the frightened woman looking back over her shoulder while running. Follow her with a fast handheld camera as she runs through the narrow aisle. Use dynamic low-angle shots close to the water, capturing her boots hitting the flooded floor and creating dramatic splashes. Show water crashing through the market behind her, people running in panic, overturned crates floating in the water, and objects being swept away. Use realistic physics, natural human movement, detailed wet clothing, wet hair sticking to her face, realistic water droplets, splashes, reflections and motion blur. The camera should move dynamically with fast tracking shots, low-angle shots, side tracking shots and occasional wide shots revealing the scale of the flooding. At one point, show the woman jumping over obstacles and running across a market counter/raised surface while the floodwater continues rushing behind her. Keep her appearance, hairstyle, pink outfit and facial features consistent throughout the entire sequence. Dark cinematic atmosphere, overcast rainy lighting, cool blue-gray tones mixed with warm fluorescent market lights, dramatic contrast, realistic skin texture, photorealistic environment, volumetric lighting, atmospheric mist, cinematic depth of field, subtle film grain, high-detail textures, realistic reflections and physically accurate water simulation. The sequence should feel like a high-budget survival/action movie, extremely immersive and intense, with realistic camera shake and fast-paced movement. Add large cinematic white brush-stroke typography reading “RUN” briefly across the center of the screen during the action sequence. Photorealistic, ultra-detailed, cinematic Hollywood-style action scene, realistic physics, natural motion, 4K film quality, anamorphic lens look, dynamic composition, dramatic pacing, no cartoon look, no CGI appearance, no distorted anatomy, no extra fingers, no duplicated people, no face changes.

Elisia

30,340 просмотров • 11 дней назад

Kling 3 vs Seedance 2 Original image generated by Seedream 5 Prompt: Live-action cinematic sequence. Another young woman, wearing a luxurious black two-piece bathing suit, enters the scene from the left (inside the house) and closes the drapes as they float in the gentle breeze. The woman walks, as the camera tracks her from behind, as she goes inside the room, where a suitcase is open on the bed. The woman is annoyed. We cut to a medium close-up of her. She mumbles to herself: "Fucking Italians... I hate this place!"

Kling 3 vs Seedance 2 Original image generated by Seedream 5 Prompt: Live-action cinematic sequence. Another young woman, wearing a luxurious black two-piece bathing suit, enters the scene from the left (inside the house) and closes the drapes as they float in the gentle breeze. The woman walks, as the camera tracks her from behind, as she goes inside the room, where a suitcase is open on the bed. The woman is annoyed. We cut to a medium close-up of her. She mumbles to herself: "Fucking Italians... I hate this place!"

Alex Patrascu

437,012 просмотров • 6 месяцев назад

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blauereiter

49,558 просмотров • 3 лет назад

made this in blender and react. still surprising how powerful a tool functional composition is. the ticker is solved with minimal effort, same semantics devs would use on the web. this is a side that is generally ignored in webgl/threejs. canvas3d is thought of in terms of scene primitives, math and shaders. these are all good to know. but i see people all the time trying to use these for solving problems that are inherently of a compositional nature, and fail. imperative javascript and oop lack composition. this is the only thing react adds to threejs (and any other platform it renders to), it allows it to compose.

made this in blender and react. still surprising how powerful a tool functional composition is. the ticker is solved with minimal effort, same semantics devs would use on the web. this is a side that is generally ignored in webgl/threejs. canvas3d is thought of in terms of scene primitives, math and shaders. these are all good to know. but i see people all the time trying to use these for solving problems that are inherently of a compositional nature, and fail. imperative javascript and oop lack composition. this is the only thing react adds to threejs (and any other platform it renders to), it allows it to compose.

☄︎

30,505 просмотров • 2 лет назад

The future of AI video is here, and it is completely mind-blowing. 🤯 OpenArt's new Smart Shot feature takes the "GPT-image 2 + Seedance 2.0" workflow and pushes it to the absolute extreme. The generated storyboard isn't just a simple sketch anymore. It is a highly detailed director's shooting guide, complete with precise camera lenses, framing, and lighting setups. One single prompt. A full multi-cut cinematic sequence. Zero editing required. Let me show you how to use this game-changer in the thread below 👇

The future of AI video is here, and it is completely mind-blowing. 🤯 OpenArt's new Smart Shot feature takes the "GPT-image 2 + Seedance 2.0" workflow and pushes it to the absolute extreme. The generated storyboard isn't just a simple sketch anymore. It is a highly detailed director's shooting guide, complete with precise camera lenses, framing, and lighting setups. One single prompt. A full multi-cut cinematic sequence. Zero editing required. Let me show you how to use this game-changer in the thread below 👇

John

108,000 просмотров • 4 месяцев назад

A cinematic artist in the gaming industry gave harsh critiques of this Halo Campaign Evolved cinematic on LinkedIn: “It's hard to believe that this Cinematic for one of gaming's most iconic levels is what Halo Studios is shipping, but it appears to be. From the original 18-second cinematic, which had: -A great establishing shot, showing the scale of the area, reinforcing the rings grand architecture -Sleeping grunts, foreshadowing upcoming ambush gameplay (you're making a game, remember?) -A quick gag of the grunts running scared We now have a bloated 30-second cinematic of: -A more constrained establishing shot. -Doorway framing, a cinematic language of its own not appropriate for a scene like this -Grunts awkwardly... arguing? Standing around? Flailing their arms? What are they even doing? Why are we watching them do this for so long? -A stupid compression-effect shot on the grunt, so clearly made by someone just ITCHING to make a shot like this -Inappropriate for Halo, an enemy, and for a character who you cant even see the face of. -The cherry on top is the fully disconnected lighting between the cinematic and the gameplay space as the cinematic ends Stuff like this needs to be rightly criticized, and all the more for remakes, which should have none of the confusion and cross-department bickering as new games might. You're remaking a game. You know the space. You know the story. You should know the intent.”

A cinematic artist in the gaming industry gave harsh critiques of this Halo Campaign Evolved cinematic on LinkedIn: “It's hard to believe that this Cinematic for one of gaming's most iconic levels is what Halo Studios is shipping, but it appears to be. From the original 18-second cinematic, which had: -A great establishing shot, showing the scale of the area, reinforcing the rings grand architecture -Sleeping grunts, foreshadowing upcoming ambush gameplay (you're making a game, remember?) -A quick gag of the grunts running scared We now have a bloated 30-second cinematic of: -A more constrained establishing shot. -Doorway framing, a cinematic language of its own not appropriate for a scene like this -Grunts awkwardly... arguing? Standing around? Flailing their arms? What are they even doing? Why are we watching them do this for so long? -A stupid compression-effect shot on the grunt, so clearly made by someone just ITCHING to make a shot like this -Inappropriate for Halo, an enemy, and for a character who you cant even see the face of. -The cherry on top is the fully disconnected lighting between the cinematic and the gameplay space as the cinematic ends Stuff like this needs to be rightly criticized, and all the more for remakes, which should have none of the confusion and cross-department bickering as new games might. You're remaking a game. You know the space. You know the story. You should know the intent.”

Rebs Gaming

308,968 просмотров • 2 месяцев назад

Cool shot of a Woblin' Goblin taking on some fuel.😎 I get the majority of my videos from public use DoD video archives. This was found in the wild. It is interesting to note that the F-117A and SR-71 are the only two aircraft that the DoD doesn't publish "many" videos of.🤔

Cool shot of a Woblin' Goblin taking on some fuel.😎 I get the majority of my videos from public use DoD video archives. This was found in the wild. It is interesting to note that the F-117A and SR-71 are the only two aircraft that the DoD doesn't publish "many" videos of.🤔

Aviation Archive - Tim Farmer

58,187 просмотров • 1 год назад

Brand new this year is the ‘Pulse of Rookburgh’ laser show; all corners of the area are filled with beams of lights Really cool & unique for the event Improvement over previous Rookburgh shows, but that F.L.Y. has to pause ops for each show is still a significant negative imo

Christopher Kenny

42,115 просмотров • 2 лет назад

The music from Halo 3's warthog run continues playing into the cutscene after. However, it may not always line up with the cinematic, ending earlier than intended. To fix this, a separate piece of music not on the soundtrack plays towards the end. Here is that music isolated: I absolutely love this music piece. It makes it seem as though the Halo ring sends out a string crescendo as it tears itself apart. As a side note: that shot of Cortana standing in front of Chief with Halo detonating in the background is the best cinematic shot in the franchise, bar none.

The music from Halo 3's warthog run continues playing into the cutscene after. However, it may not always line up with the cinematic, ending earlier than intended. To fix this, a separate piece of music not on the soundtrack plays towards the end. Here is that music isolated: I absolutely love this music piece. It makes it seem as though the Halo ring sends out a string crescendo as it tears itself apart. As a side note: that shot of Cortana standing in front of Chief with Halo detonating in the background is the best cinematic shot in the franchise, bar none.

GoldAthena 💜 (VTuber Arc)

67,966 просмотров • 9 месяцев назад

Godzilla vs Cybertruck Pt 2. With Kling Elements + Midjourney. KLING PROMPT EX: A cinematic tracking shot follows a massive Godzilla as it fights a tesla cybertruck with a mounted 50 caliber gun on it's back. The camera rises to a high-angle view, of the monstrous Godzilla as it looks down at the tesla cybertruck. Showing his impressive size and scale over the small tesla cybertruck below. Godzilla's body recoils smoothly as electricity charges through his body, illuminating his scales and spines, before godzilla blasts an intense energy beam from his mouth directly at the cybertruck. Directly hitting the tesla cybertruck. The scene is action-filled and adrenaline-pumping intensity. Shot in a desolate desert with high contrast and warm lighting. Shot in cinematic 4k. #midjourney #klingai Kling AI

Godzilla vs Cybertruck Pt 2. With Kling Elements + Midjourney. KLING PROMPT EX: A cinematic tracking shot follows a massive Godzilla as it fights a tesla cybertruck with a mounted 50 caliber gun on it's back. The camera rises to a high-angle view, of the monstrous Godzilla as it looks down at the tesla cybertruck. Showing his impressive size and scale over the small tesla cybertruck below. Godzilla's body recoils smoothly as electricity charges through his body, illuminating his scales and spines, before godzilla blasts an intense energy beam from his mouth directly at the cybertruck. Directly hitting the tesla cybertruck. The scene is action-filled and adrenaline-pumping intensity. Shot in a desolate desert with high contrast and warm lighting. Shot in cinematic 4k. #midjourney #klingai Kling AI

Rory Flynn

48,103 просмотров • 1 год назад

Nobody's talking about the Claude trick that fixes every Seedance 2.0 video mistake. A cinematic action scene, an animated sequence, a product ad, and a dialogue scene are completely different types of content. Different camera language, different pacing, different reference logic. Most people try to force all of it through one universal prompt. The fix turns out to be simpler than expected: Claude Skills. It's not some secret hack. It's a file of instructions you load into Claude for one specific type of task. Once it's loaded, Claude stops acting like a general assistant and starts thinking like an expert in that one niche — with its own set of rules for that scene type. Here's what that looks like in practice: ▪ Cinematic skill — generates real camera language: dolly moves, crane shots, rack focus, shot discipline across multiple cuts. Test: a medieval battle between two armies, 15 seconds, dark fantasy. Result — three shots with the shot logic of an actual film, not just "epic battle" typed as text. ▪ Animation skill — locks in style and physics before a single shot is built. One test: a rain-soaked shonen fight in the style of Tokyo Revengers. Another: a quiet Ghibli-style farm scene. Same skill, completely different visual output — because the style gets fixed at the very top of the prompt. ▪ Product ad skill — keeps the product front and center in every shot: clean hero framing, commercial lighting, a full product description built from the reference image before any shots are generated. ▪ Dialogue skill — this is where most people fall apart. Lip sync, emotional direction, shot structure, and audio cues all have to work together. Test: an interrogation scene with a fourth-wall break — and the moment landed exactly as written, down to the pause and tone. The core idea is simple: instead of writing a prompt from scratch every time and hoping for the best, you build one skill per content type — and Claude asks the right setup questions (genre, tone, shot count, camera energy) before generating a fully structured Seedance 2.0 prompt. One prompt template for everything is exactly why 90% of AI videos look the same. This 13-minute video is free, and it's more useful than a $500 course. YouTube: "Skai Generated" - Thank you for sharing this invaluable material with us.

Nobody's talking about the Claude trick that fixes every Seedance 2.0 video mistake. A cinematic action scene, an animated sequence, a product ad, and a dialogue scene are completely different types of content. Different camera language, different pacing, different reference logic. Most people try to force all of it through one universal prompt. The fix turns out to be simpler than expected: Claude Skills. It's not some secret hack. It's a file of instructions you load into Claude for one specific type of task. Once it's loaded, Claude stops acting like a general assistant and starts thinking like an expert in that one niche — with its own set of rules for that scene type. Here's what that looks like in practice: ▪ Cinematic skill — generates real camera language: dolly moves, crane shots, rack focus, shot discipline across multiple cuts. Test: a medieval battle between two armies, 15 seconds, dark fantasy. Result — three shots with the shot logic of an actual film, not just "epic battle" typed as text. ▪ Animation skill — locks in style and physics before a single shot is built. One test: a rain-soaked shonen fight in the style of Tokyo Revengers. Another: a quiet Ghibli-style farm scene. Same skill, completely different visual output — because the style gets fixed at the very top of the prompt. ▪ Product ad skill — keeps the product front and center in every shot: clean hero framing, commercial lighting, a full product description built from the reference image before any shots are generated. ▪ Dialogue skill — this is where most people fall apart. Lip sync, emotional direction, shot structure, and audio cues all have to work together. Test: an interrogation scene with a fourth-wall break — and the moment landed exactly as written, down to the pause and tone. The core idea is simple: instead of writing a prompt from scratch every time and hoping for the best, you build one skill per content type — and Claude asks the right setup questions (genre, tone, shot count, camera energy) before generating a fully structured Seedance 2.0 prompt. One prompt template for everything is exactly why 90% of AI videos look the same. This 13-minute video is free, and it's more useful than a $500 course. YouTube: "Skai Generated" - Thank you for sharing this invaluable material with us.

Zentrix⌚️

45,636 просмотров • 1 месяц назад

Frames + Midjourney → RUNWAY GEN-4. Big update...much improved. PROMPT STRUCTURE: [shot type], [subject + action + motion + direction] [env]. [Camera motion], [env description], [lighting], [mood/emotion]. PROMPT EX: A fast action tracking shot of a young man skateboarding towards us down a dusty desert road. The camera pulls out on him as he weaves on his skateboard casually. Behind him, a colossal fiery mushroom cloud expands into the sky and towards us, growing methodically larger. The lighting is natural and cinematic, with warm tones from the blast contrasting against the cool shadows of the dunes. The handheld camera movement adds rawness and tension to the scene. #midjourney #runway #promptshare

Frames + Midjourney → RUNWAY GEN-4. Big update...much improved. PROMPT STRUCTURE: [shot type], [subject + action + motion + direction] [env]. [Camera motion], [env description], [lighting], [mood/emotion]. PROMPT EX: A fast action tracking shot of a young man skateboarding towards us down a dusty desert road. The camera pulls out on him as he weaves on his skateboard casually. Behind him, a colossal fiery mushroom cloud expands into the sky and towards us, growing methodically larger. The lighting is natural and cinematic, with warm tones from the blast contrasting against the cool shadows of the dunes. The handheld camera movement adds rawness and tension to the scene. #midjourney #runway #promptshare

Rory Flynn

39,281 просмотров • 1 год назад

Crazy scene from Marco Polo, combining animation, live-action, and CG. This was a few years before Madhouse (who animated Marco Polo) would use CG in the Golgo 13 film; there are only a few instances of CG in anime before this that I can even think of.

Crazy scene from Marco Polo, combining animation, live-action, and CG. This was a few years before Madhouse (who animated Marco Polo) would use CG in the Golgo 13 film; there are only a few instances of CG in anime before this that I can even think of.

John with a Blog

16,803 просмотров • 7 месяцев назад