Shot Zero
@shotzero.bsky.social
We talk shot design - because shot design isn’t just how it looks and feels, it’s how it works. www.shot-zero.com
Produced by Stu Willis & Mel Killingsworth
Produced by Stu Willis & Mel Killingsworth
Pinned
Shot Zero
@shotzero.bsky.social
· Sep 10
#Andor FrameWithoutFrame 2/5
Through S1, Vel and Cinta had similar ideals, but polar opposite ideas of how they could work together within the Rebellion, and this frame reminds us of this visually.
I’m also interested in how we get *into* this frame, though:
Through S1, Vel and Cinta had similar ideals, but polar opposite ideas of how they could work together within the Rebellion, and this frame reminds us of this visually.
I’m also interested in how we get *into* this frame, though:
We know time flies especially during the holidays, but this single shot from #DoctorWho “A Christmas Carol” passes decades in one small slide!
We did a deeper dive into how they made the shot shotzero.substack.com/p/passing-ye...
We did a deeper dive into how they made the shot shotzero.substack.com/p/passing-ye...
December 19, 2025 at 11:01 PM
We know time flies especially during the holidays, but this single shot from #DoctorWho “A Christmas Carol” passes decades in one small slide!
We did a deeper dive into how they made the shot shotzero.substack.com/p/passing-ye...
We did a deeper dive into how they made the shot shotzero.substack.com/p/passing-ye...
Reposted by Shot Zero
I’ve been working on this one for a minute.
With Criterion releasing DAVID BYRNE’S AMERICAN UTOPIA, for @letterboxd.social I surveyed Spike Lee’s rich history as a musical director.
Read: letterboxd.com/journal/spik...
With Criterion releasing DAVID BYRNE’S AMERICAN UTOPIA, for @letterboxd.social I surveyed Spike Lee’s rich history as a musical director.
Read: letterboxd.com/journal/spik...
December 16, 2025 at 11:35 PM
I’ve been working on this one for a minute.
With Criterion releasing DAVID BYRNE’S AMERICAN UTOPIA, for @letterboxd.social I surveyed Spike Lee’s rich history as a musical director.
Read: letterboxd.com/journal/spik...
With Criterion releasing DAVID BYRNE’S AMERICAN UTOPIA, for @letterboxd.social I surveyed Spike Lee’s rich history as a musical director.
Read: letterboxd.com/journal/spik...
How does a choice of shots within an animated world help establish a show's tone and set up its jokes?
We look at a scene from the #GravityFalls pilot to find out!
shotzero.substack.com/p/moving-a-s...
We look at a scene from the #GravityFalls pilot to find out!
shotzero.substack.com/p/moving-a-s...
December 18, 2025 at 11:02 PM
How does a choice of shots within an animated world help establish a show's tone and set up its jokes?
We look at a scene from the #GravityFalls pilot to find out!
shotzero.substack.com/p/moving-a-s...
We look at a scene from the #GravityFalls pilot to find out!
shotzero.substack.com/p/moving-a-s...
Decoy needs us to know we’re in Margot’s POV, because what she sees and knows is going to change what she says on the phone.
Showing Margot leaning over looking downwards, then a high angled shot, back to Margot, clearly tells us she has all the same information we have here.
Showing Margot leaning over looking downwards, then a high angled shot, back to Margot, clearly tells us she has all the same information we have here.
December 17, 2025 at 11:01 PM
Decoy needs us to know we’re in Margot’s POV, because what she sees and knows is going to change what she says on the phone.
Showing Margot leaning over looking downwards, then a high angled shot, back to Margot, clearly tells us she has all the same information we have here.
Showing Margot leaning over looking downwards, then a high angled shot, back to Margot, clearly tells us she has all the same information we have here.
The shots in #Carol come moments apart, with hands placed in the same area of frame so our eye goes the same - even before we know who these people are to each other, these shots tell us how to feel.
1/3
1/3
December 17, 2025 at 4:38 AM
The shots in #Carol come moments apart, with hands placed in the same area of frame so our eye goes the same - even before we know who these people are to each other, these shots tell us how to feel.
1/3
1/3
This opening shot from Hamlet Goes Business fades in as usual, then . . . tilts?
It's confusing only for a moment, until the next shot cuts to a closeup of Hamlet (Pirkka-Pekka Petelius), whose head is tilted at a similar angle to how the wide shot out the window was.
1/2
It's confusing only for a moment, until the next shot cuts to a closeup of Hamlet (Pirkka-Pekka Petelius), whose head is tilted at a similar angle to how the wide shot out the window was.
1/2
December 16, 2025 at 11:01 PM
This opening shot from Hamlet Goes Business fades in as usual, then . . . tilts?
It's confusing only for a moment, until the next shot cuts to a closeup of Hamlet (Pirkka-Pekka Petelius), whose head is tilted at a similar angle to how the wide shot out the window was.
1/2
It's confusing only for a moment, until the next shot cuts to a closeup of Hamlet (Pirkka-Pekka Petelius), whose head is tilted at a similar angle to how the wide shot out the window was.
1/2
Before Jacob Tierney did #HeatedRivalry, he did #Letterkenny, aka one of the smartest, whipfast comedies doing the most jokes with the smallest spaces you ever did see.
Like this:
Like this:
December 16, 2025 at 8:00 AM
Before Jacob Tierney did #HeatedRivalry, he did #Letterkenny, aka one of the smartest, whipfast comedies doing the most jokes with the smallest spaces you ever did see.
Like this:
Like this:
We at Shot Zero are bravely on the record: #DieHard is a Christmas movie, and it is also damn good at making pretty and effective shots like this lil camera tilt.
We talk about how tilts and pans are used to great effect here: shotzero.substack.com/p/tiltpans-i...
We talk about how tilts and pans are used to great effect here: shotzero.substack.com/p/tiltpans-i...
December 15, 2025 at 11:01 PM
We at Shot Zero are bravely on the record: #DieHard is a Christmas movie, and it is also damn good at making pretty and effective shots like this lil camera tilt.
We talk about how tilts and pans are used to great effect here: shotzero.substack.com/p/tiltpans-i...
We talk about how tilts and pans are used to great effect here: shotzero.substack.com/p/tiltpans-i...
Today's longread looks at a scene where Succession's editing crosses the line almost as much as the characters!
And why breaking that 'rule' is perfectly fine . . . if you do it right.
open.substack.com/pub/shotzero...
And why breaking that 'rule' is perfectly fine . . . if you do it right.
open.substack.com/pub/shotzero...
December 14, 2025 at 11:01 PM
Today's longread looks at a scene where Succession's editing crosses the line almost as much as the characters!
And why breaking that 'rule' is perfectly fine . . . if you do it right.
open.substack.com/pub/shotzero...
And why breaking that 'rule' is perfectly fine . . . if you do it right.
open.substack.com/pub/shotzero...
In this scene from All That Heaven Allows, characters moving a prop and operator(s) moving the camera coincide to frame Cary (Jane Wyman) in the TV screen as the bow blocks her daughter Kay out.
1/2
1/2
December 13, 2025 at 11:01 PM
In this scene from All That Heaven Allows, characters moving a prop and operator(s) moving the camera coincide to frame Cary (Jane Wyman) in the TV screen as the bow blocks her daughter Kay out.
1/2
1/2
Reposted by Shot Zero
THE VILLAINESS (Jung, 2017)
December 13, 2025 at 8:24 PM
THE VILLAINESS (Jung, 2017)
In #Pluribus 1.03 “Grenade” all it takes is a neat bit of framing and editing for Carol (Rhea Seehorn) to turn water into vodka.
After Carol considering taking her medication with tap water, she begins pouring out the water . . .
1/2
After Carol considering taking her medication with tap water, she begins pouring out the water . . .
1/2
December 12, 2025 at 11:01 PM
In #Pluribus 1.03 “Grenade” all it takes is a neat bit of framing and editing for Carol (Rhea Seehorn) to turn water into vodka.
After Carol considering taking her medication with tap water, she begins pouring out the water . . .
1/2
After Carol considering taking her medication with tap water, she begins pouring out the water . . .
1/2
We return to #SHERLOCKHOUND to see how #Miyazaki's detective series stages an aquatic stunt!
See our Substack for the result and full breakdown.
shotzero.substack.com/p/art-of-the...
See our Substack for the result and full breakdown.
shotzero.substack.com/p/art-of-the...
December 11, 2025 at 11:01 PM
We return to #SHERLOCKHOUND to see how #Miyazaki's detective series stages an aquatic stunt!
See our Substack for the result and full breakdown.
shotzero.substack.com/p/art-of-the...
See our Substack for the result and full breakdown.
shotzero.substack.com/p/art-of-the...
Reposted by Shot Zero
December 11, 2025 at 1:35 AM
If you missed any of our 'How To Make a Phone Call on Film' shots last week from Michael Clayton, Brighton Rock, and more, we've got them all in one handy place
shotzero.substack.com/p/staging-a-...
shotzero.substack.com/p/staging-a-...
December 11, 2025 at 2:28 AM
If you missed any of our 'How To Make a Phone Call on Film' shots last week from Michael Clayton, Brighton Rock, and more, we've got them all in one handy place
shotzero.substack.com/p/staging-a-...
shotzero.substack.com/p/staging-a-...
This simple, low-angle, stillframe shot from Drunken Angel makes us feel Sanada’s exhaustion at the heat and the hugeness of his task — his white suit against the blacks and greys makes him stand out, looking small and tired climbing steep steps towards a huge and boundless sky.
December 10, 2025 at 11:02 PM
This simple, low-angle, stillframe shot from Drunken Angel makes us feel Sanada’s exhaustion at the heat and the hugeness of his task — his white suit against the blacks and greys makes him stand out, looking small and tired climbing steep steps towards a huge and boundless sky.
Reposted by Shot Zero
December 10, 2025 at 10:29 AM
This Marilyn Hotchkiss’ Ballroom Dancing & Charm School scene starts with John Goodman in prison telling his story to Danny DeVito: standard 2shot. behind bars, as far away from each other as their tiny cell allows.
The single shots have them isolated, neither infringing on the others’ frame.
1/2
The single shots have them isolated, neither infringing on the others’ frame.
1/2
December 9, 2025 at 11:01 PM
This Marilyn Hotchkiss’ Ballroom Dancing & Charm School scene starts with John Goodman in prison telling his story to Danny DeVito: standard 2shot. behind bars, as far away from each other as their tiny cell allows.
The single shots have them isolated, neither infringing on the others’ frame.
1/2
The single shots have them isolated, neither infringing on the others’ frame.
1/2
Recently, Agatha All Along created tarot cards with objects and characters.
Merlin pulled a similar move with Morgana (Katie McGrath) in 4.13 “The Sword in the Stone - Part 2’ where she stands in front of a tapestry to create the picture of a dark, avenging angel.
Merlin pulled a similar move with Morgana (Katie McGrath) in 4.13 “The Sword in the Stone - Part 2’ where she stands in front of a tapestry to create the picture of a dark, avenging angel.
December 8, 2025 at 11:02 PM
Recently, Agatha All Along created tarot cards with objects and characters.
Merlin pulled a similar move with Morgana (Katie McGrath) in 4.13 “The Sword in the Stone - Part 2’ where she stands in front of a tapestry to create the picture of a dark, avenging angel.
Merlin pulled a similar move with Morgana (Katie McGrath) in 4.13 “The Sword in the Stone - Part 2’ where she stands in front of a tapestry to create the picture of a dark, avenging angel.
As Bix (Adria Arjona) runs from Imperial cops, all seven shots have her, the stormtroopers chasing her, the camera, or all of the above, moving Left-to-Right.
Then the scene cuts from a closeup of Bix to a wide shot of space, with the Fondor coming into screen also moving L-R.
1/2
Then the scene cuts from a closeup of Bix to a wide shot of space, with the Fondor coming into screen also moving L-R.
1/2
December 8, 2025 at 1:02 PM
As Bix (Adria Arjona) runs from Imperial cops, all seven shots have her, the stormtroopers chasing her, the camera, or all of the above, moving Left-to-Right.
Then the scene cuts from a closeup of Bix to a wide shot of space, with the Fondor coming into screen also moving L-R.
1/2
Then the scene cuts from a closeup of Bix to a wide shot of space, with the Fondor coming into screen also moving L-R.
1/2
#Andor 1.08 "Narkina 5" makes the most of motion, blocking, and symmetry - we look at how each is so effective, especially in culmative use!
open.substack.com/pub/shotzero...
open.substack.com/pub/shotzero...
December 7, 2025 at 11:01 PM
#Andor 1.08 "Narkina 5" makes the most of motion, blocking, and symmetry - we look at how each is so effective, especially in culmative use!
open.substack.com/pub/shotzero...
open.substack.com/pub/shotzero...
#TenPoundPoms loves a mirror shot!
What’s interesting here is what we DON’T see — Annie’s (Faye Marsay) face in the shot or the mirror.
Annie is small in frame, surrounded by a maze of stairs and hotel hallways. we can see the phone, it’s obvious what she’s doing . . . 1/2
What’s interesting here is what we DON’T see — Annie’s (Faye Marsay) face in the shot or the mirror.
Annie is small in frame, surrounded by a maze of stairs and hotel hallways. we can see the phone, it’s obvious what she’s doing . . . 1/2
December 6, 2025 at 11:00 PM
#TenPoundPoms loves a mirror shot!
What’s interesting here is what we DON’T see — Annie’s (Faye Marsay) face in the shot or the mirror.
Annie is small in frame, surrounded by a maze of stairs and hotel hallways. we can see the phone, it’s obvious what she’s doing . . . 1/2
What’s interesting here is what we DON’T see — Annie’s (Faye Marsay) face in the shot or the mirror.
Annie is small in frame, surrounded by a maze of stairs and hotel hallways. we can see the phone, it’s obvious what she’s doing . . . 1/2
This phone call is actually a ‘reveal’ — the punctuation mark on a sequence where Zack has pondered what to do.
The mirror lets us know Zack is still conflicted, even as his conversation lays out his decision.
This shot does the exact opposite of our phone call shot coming up tomorrow.
The mirror lets us know Zack is still conflicted, even as his conversation lays out his decision.
This shot does the exact opposite of our phone call shot coming up tomorrow.
December 5, 2025 at 11:00 PM
This phone call is actually a ‘reveal’ — the punctuation mark on a sequence where Zack has pondered what to do.
The mirror lets us know Zack is still conflicted, even as his conversation lays out his decision.
This shot does the exact opposite of our phone call shot coming up tomorrow.
The mirror lets us know Zack is still conflicted, even as his conversation lays out his decision.
This shot does the exact opposite of our phone call shot coming up tomorrow.
Reposted by Shot Zero
All week on @shotzero.bsky.social we're looking at how to dramatize phone calls on screen.
The focus pull, ‘opposite sides’ framing, stark colour difference between locations - these 45 seconds (only 30 actually spent talking) SHOWS us how these people feel, and how strongly they oppose each other.
see today's substack for a deeper look at this #MichaelClayton scene
see today's substack for a deeper look at this #MichaelClayton scene
December 4, 2025 at 10:07 AM
All week on @shotzero.bsky.social we're looking at how to dramatize phone calls on screen.