This episode is the third episode of "Love Dead", called "Witness", translated as "The Witness", which was a relatively cool episode at the time. The director was originally a member of the animation production team of "Spider-Man: Parallel Universe", and it is said that he was later kicked out, so the style of this short film is very similar to that of "Parallel Universe".
"The Nude Woman and the Man with Glasses Run Wild", the starting point of the selected paragraph is 6 minutes and 17 seconds - the heroine found out that the hero was following, and then walked out of the performance room and went to a certain room to find someone for help.
Let's talk about the icon title of this episode first
The first snake logo is the representative of the "time and space cycle" of the film, the "woman in black" mask in the middle is the character's identity, and the last eye is the representation of the title of the film. In "Love Dead", the shell packaging of each episode is "love, death, robot", in this episode, I think "love" is the opening "love kill", "death" is obvious, "robot" is this Looping sci-fi world.
Shot A (the alphabetical sequence of shots is not exactly the sequence of shots in the film itself), a large panoramic space, and will be used later, action: knock on the door, ask for help from a buddy.
Then shot B, the door is opened to enter the room, the heroine is placed in about a quarter of the frame, very marginal, to reinforce her dangerous situation and nervousness.
Shot C, entering the room, shot from an upside down, with a swipe-to-focus technique, aggravating the psychology. At the same time, when entering the door, it is a close-up. After the door is closed, the heroine consciously enters a safe area, and the scene is naturally relaxed.
Shot D, I found that the person I was looking for was as hilarious as a ghost
She's here to find him a regular, a medium shot to close-up "discovery and self-rescue" process, walking towards the items in this room that can save her.
Next, this lens combination E was used quite well, and the heroine found the gun. The first is a big overhead shot - "Hitchcock said that a close-up is a drum cymbal, and a high-angle shot is a vibrato"; the second is the use of jump cuts, and the characters' survival and desire are well expressed.
Then, the male protagonist came over and walked into the corridor shown by shot A in this paragraph. The female protagonist happened to take a gun and fled, and the two began to confirm their eyes...
The next shot F, a close-up of the female protagonist over the shoulders of the male protagonist, a large area of black in the foreground caused by the backlight of the camera position, and she, who is on the edge again, is blocked due to the floating of the male protagonist's body, the female protagonist again Trapped in what she thought was a big crisis.
The next shot G is the closest the male protagonist is to the female protagonist. When the female protagonist throws her clothes at him and escapes, the camera zooms abruptly and then starts to run wildly. This usage will be repeated again in the following. This shot is also one of the few shaky shots in the film, most of which are very stable shots, although I still haven't figured out why.
I personally think the following shot H is the best in the whole film. First, push forward quickly, intensifying emotions and tension, and then fall on the stairs - the arrangement of the characters is: entering the painting - leaving the painting - then entering the painting, this is a cycle, this is the title shot.
What follows is a series of chase shots. Or use the characters in the painting, or the separation of you chasing me and running irrespective of the relationship, or the scene, you are bigger and I am smaller, or the arrangement of the characters' positions - these are used to express the heroine's struggle and the male protagonist. The weakness of the Lord.
The next shot I has a strong sense of visual impact, and the male protagonist also begins to take advantage of the scene, and he exerts his strength. Just don't understand why this shot uses such a windy sound when running.
Still afraid of being harmonious, the following shot J can only be taken from the middle of the shot. At this time, the male protagonist has already caught up, which is reflected in the fact that the male protagonist has already entered the painting before the female protagonist has completely finished painting.
When shot J is at the end, the male protagonist still has a momentary "transformation". At this time, the picture changes from 3D to 2D in an instant. Regarding the discussion of this issue, I would like to give two public account articles.
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Shot K, the same usage as shot G - it's about to be caught, it's flinging to escape, and it's pushing at the same time.
At this time, the two were still running wildly on the street. During their running, there was no subjective follow-up shot, and no small scene shots. Some of them were shots with a complete Hong Kong space - a city with a large population like Hong Kong. , there is no one but them on the street. I think this world is closer to the world setting of "Ready Player One". Or, this story, this cycle is just a dream.
When it came to shot L, the heroine found a door again and entered it again to avoid danger. At this time, the composition design was obviously safer than shot B, and the position of the characters was no longer so marginal.
The run is over, then the bleeding begins, and the cycle begins.
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