Fall 2024 | Shot Analysis

[Adham Aatiq]

Adham Aatiq
SHOT ANALYSIS: CHAINSAW MAN EP 1

[Roberto]

Robby Garcia

[BSmith01]

Blake Smith - Full Metal Alchemist Brotherhood


Shot Size: Close Up
The shot here is a close up. This particular size is used to best portray the depth of emotion on Roy’s face at his best friend’s funeral.

Framing: Clean Single, POV
Out of context, it is difficult to tell, but the framing of this shot is a POV from the perspective of Riza Hawkeye. It is also a single. This framing is important, as from the perspective of Riza, Roy’s direct underling, he is a stoic and very level headed person. This is a side of him she is not used to. As a single, all of the attention is on him.

Angle: Low
Here, the angle is a low shot, used to show vulnerability. Riza looks up to Roy literally and figuratively, yet this is him at his most vulnerable.


Shot Size: Wide Shot
A wide shot is used here to show that Ling, the human, is facing something that is much larger and more powerful than him, that being Greed.

Framing: Over the shoulder
Over the shoulder is used here because this is a direct conversation between Greed and Ling.
There are no other characters privy to this interaction.


Angle: High
A high angle is used here to get a better sense of Ling’s helplessness.
He is entirely surrounded and encapsulated by Greed.

Shot Size: Medium Close Up
A medium close up is used here to prioritize Roy’s emotional state in this scene, both through his expression and posture.
This is the angriest we see him at any point in the series.

Framing: Clean Single
A Clean Single is used here because we are meant to be completely focused on Roy.


Angle: Low, Dutch tilt
The low angle is used here to show that Roy is in charge. In combination with the other aspects of the shot, we can infer that he is focusing all of his anger on the the person or thing in front of him. The Dutch tilt is used here to show that Roy is losing his grip and is in a very unstable state.
Shot Size: Full
A full shot is used to show the emotional relationship between Granny and Hohenheim.
It also displays their physicality, and Granny’s full body reaction to finding her friend dead.

Framing: Two Shot
Two shot is used here because the focus is on the relationship between these two characters.

Angle: Low
A slight low angle is used here as a display of vulnerability. There is no tension, and both character’s are at peace.
Shot Size: Wide Shot
A Wide shot is used here to give a sense of scale and importance.
The character is quite literally reaching for the moon, and succeeding.

Framing: Insert, POV
This shot is a brief change in perspective from the rest of the scene, used to show how badly Father, our character of focus, wants to achieve godhood.
It is finally within his grasp.

Angle: Low
A low angle is used here to show that he is reaching for something both physically and narratively much higher than him.
Shot Size: Wide
A Wide shot is used here to emphasize the distance between the two characters.
Edward is reaching for something so close, yet just out of his grasp. The wide shot is very isolating.

Framing: Two Shot
Two shot is used here because our two characters are the central focus in this moment.
They are alone.

Angle: Eye Level
A very flat eye level angle is used here to give a sense of objectivity.
Everything about the shot emphasizes the space between them.

Shot Size: Extreme Close Up
An extreme close up is used here to show the scathing look in Roy’s eyes and emphasize the rage he is feeling.

Framing: Clean Single
The shot is a clean single, once again to keep the focus entirely on Roy.


Angle: Low
The low angle here not only creates a sense of superiority and power, but also shows the disdain Roy feels for Envy, the character he is focused on in this moment. Roy both literally and figuratively looks down on him.


Shot Size: Close Up
A close up is used here to show the contentment and understanding on Edward’s face.

Framing: Clean Single
A Clean Single keeps the focus on Edward and also creates a sense of calmness.


Angle: Eye Level
An Eye Level shot is used here to show that Ed is not being judged, but also that he is completely decided.
In this shot, he is speaking directly to “God” and in this moment, the eye level angle shows that he has achieved understanding and that they are now on equal ground.

Shot Size: Close Up
A closeup is used here to show the look of complete terror on Edward’s face.
His is being forced to view incomprehensible knowledge.

Framing: Clean Single
A Clean Single is used here to show that Edward is alone and helpless.


Angle: Low, Dutch tilt
The slight low angle is used here to show vulnerability. Ed is defenseless.
The upside down angle aids this by emphasizing that Ed is completely out of control.

Shot Size: Medium full and Medium shot
The shot here is meant to emphasize the interaction between Edward and Truth while also displaying the door behind Edward as an important prop.
It also creates an interesting sense of scale between the three.

Framing: Over the Shoulder
Over the shoulder is used because this is a conversation between the characters of Truth and Edward.


Angle: Low
The low angle used here shows that Ed has now gained some control over the situation.

[EvelyT]

Evely Torres

[Professor Watkins]

Time post test

[Professor Watkins]

Time post test 2

[SamseraiLopez]

Samserai Lopez
Encanto

[Meg Villanueva]

Meg Villanueva

[MonsterMegalodon]

Cassandra Rebolloso Hanson

[Leopoldo]

Shot Size: Medium - This size is used because Nastu has a prop and is in frame fully. The director used this to show Nastu's laxness in Lucy's home.
Shot Framing: Over the shoulder - The director used this framing to show Lucys fustration to Nastu.
Shot Angle: Eye level - The director used the eye level shot to show that Nastu and Lucy are a equal power at the current moment.


Shot Size: Close Up Shot- This close up shot is used to show the time of anxiety and tension of Nastu confronting the water god.
Shot Framing: Single Clean - This single is used to show the emotion and to add tension to the story.
Shot Angle: High angle - This angle is used to show that Nastu is not in power and that the water god is the one in power


Shot Size: Wide Shot - The characters are placed within the envorment and fully shown. The reason the director used this size is because the water god has his shadow tower oever the group.
Shot Framing: Crowd shot- The director used this framing to show that the who group is powerless against the water god at the currrent moment.
Shot Angle: High Angle - A high angle is used to portray that the water god has the most power or is the one in control of the situation in the shot.


Shot Size: Full Shot - This size is a fully shot since Nastu's emotions can be seen and is fully in the shot. The director used this size to portray Nastu gaining power.
Shot Framing: Single Clean - Nastu is the only person in the frame and is not obscured by anyother character. The director used this to show that Nastu was the only one gaining power in this shot.
Shot Angle: Low Angle - The angle is slightly low showing that Nastu has gained control of his new power.


Shot Size: Medium Shot - This is a meduim shot since it shows Nastu holding a ball of fire as a prop ready to throw it at the water god. The director used this to show Nastu getting ready to fight the water dragon god with his new power.
Shot Framing: Single Clean - Nastu is the only character in the frame. The reason the director used this was to show that nastu had gained tremendas power and is able to fight the water dragon god mostly on his own.
Shot Angle: High Angle - The high angle is used to show that Nastu is slowly loosing control of his powers going berserk.


Shot Size: Medium Full Shot - This shot shows Nastu from the top of his head to just below his waist. The director used this size to show Lucy huging him from behind fully comforting him to come back to his senses.
Shot Framing: SIngle Dirty - The only character with their face shown is natsu however Lucy is still in the frame.
Shot Angle: Eye level - The director showed this shot at eye level to convey that Lucy had power to calm Natsu down.


Shot Size: Full Shot - This is a full shot of Happy. The director used this to show Happy's emotional state/worry for Natsu.
Shot Framing: SIngle Dirty - Nastu is partly in the frame but not fully and Happy is the only one fully in frame so this is a Single Diry Shot. The director used this to show Happy staring worriedly at Nastu.
Shot Angle: High Angle - This is a high angle to convey the narative and to show Happy's character.


Shot Size: Close Up Shot - The reason this size was used is because is emphasizes the tension when Lucy is scolding Natsu
Shot Framing: Duch Tilt - The director used this to emphasize how Lucy was scolding Natsu
Shot Angle: Low Angle - The director used this angle to show that Lucy is in power here scolding natsu.


Shot Size: Wide Shot- This wide shot shows the caracters within the enviorment. The director chose this size to show the enviorment after it's destruction and to show that the characters have hope the city will be okay.
Shot Framing: Three Shot - This has the three characters in the frame. The director chose this framing to show how close they are.
Shot Angle: High Angle - The reason the director used this angle is to establish character and show vunerability.


Shot Size: Establishing Shot - This is a shot that is opening the scene back to the Wizard Guild. The director chose this size to establish the new scene change
Shot Framing: Single Clean - This is a shot that only has the Wizard Guild in frame in a far away place. The director chose this framing to show how secluded the guild is from the rest of the world
Shot Angle: Low Angle - The dragon ontop of the guild makes it seem imposing and as if the guild itself has power coming from it.

[vbarajas]

Valerie Barajas
Mulan Shot Angles