Thematic teaser for "Ken" for the upcoming multi-format series Street Fighter: Assassin's Fist, which will debut on Machinima's YouTube channel in May 2014, followed by TV, VOD and DVD/Blu-ray releases.
Teaser trailer
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Tags: Street Fighter: Assassin's Fist, web series, Joey Ansah, Chris Howard, Mike Mo
Tags: Street Fighter: Assassin's Fist, web series, Joey Ansah, Chris Howard, Mike Mo
Tomorrow a normal trailer will be released and the exact date of the online premiere will be announced.
Jaidev, yes, I understood your vision, I agree and am essentially talking about the same thing. The only difference is in the approaches, of which there are many, the main thing, in my opinion (and I especially support you in this), is not to shoot scenes according to the usual and already boring “cliche scripts”, it’s boring and dry. I mean, if you stage a fight scene, then combined shooting is preferable: competent editing of general angles with detailed ones shot separately. But in this case, you can’t go overboard with cuts and “shaky camera” in macro-close-ups, as has become fashionable in order to add dynamics.
For example, the beginning of the scene - a long shot with a variable camera panning to the faces of the partners - is a boring classic. Showing the enemy's view of the hero from his back-head while leaving himself on the left side of the frame out of focus (3rd person), and then similarly showing the hero from the back-head of the enemy is fresher but at the same time technically more difficult. There can be many options.
In terms of details of the techniques, shooting from the side of one of the opponents looks at least fresh, although I can probably agree that in this case it was not done competently enough, but it is interesting and the dynamics do not sags :) It is difficult to formulate a general impression of the scene from the teaser, because .To. Most likely, only a clip of a short episode is shown, but it also gave me hope. It’s also possible that the edges were heavily cropped for the teaser (this is a common occurrence), and in the release the shot will be more distant...
I completely agree with your statement. Essentially you are right. BUT... if we come to the cinema, then we want to see the most interesting angle.
In this case, with the episode in the video, the angle is unsuccessful. Because the effect of the fall is hidden. If this, say, was filmed by a subjective camera - the voyeuristic effect, then again, it should have been filmed from the side, but not from the back of the thrower. Do you agree?
In general, camera angles are an interesting topic. In fact, we have known them for a long time and they are familiar to the eye. And when the frame is apparently shot in some other way, then we think accordingly. Why is that so?
It's simple.
And speaking of distance.
Close-ups are very possible. And on punches and kicks. Moreover, I will say that this is normal. You can almost give a macro plan, and it will work. But you need to know WHAT to shoot.
Again - in this frame what do we see?
An ordinary half somersault, the beauty of which is in the flight. But... Do we see the flight?
A somersault is not a somersault, not a violent fall. It's just somersault. But if you shoot it cool, it will look very powerful! And if you add the emotions of the characters from the right angle, then the intensity of passions that you are talking about will just happen!
In the same frame, everything was lost. There's only one back left. Am I wrong?
If this does not compromise the readability of movements.
I don’t know about Jaidev, but personally in this case I was confused not by the distance, but by the angle. The shot was filmed from a very strange angle + was broken up by editing and therefore turned out rotten.
I will understand by yours HOWEVER - IMHO.
Everyone has the right to their opinion, especially in camera photography, where there is nothing clear-cut. Have you ever watched high-quality educational films on BI? So, in them the operator shows the same movement of the master from different angles. For what? So that students can learn the technique correctly. It’s impossible to do this in cinema, and the tasks are completely different, and it personally baffles me when the director says that he doesn’t understand why the cameramen come very close to the objects. Isn’t it obvious that in combat productions distance regulates the dynamism and intensity of the scene (or in order to hide flaws in the actor’s technical training)?
Comrades, in any case, this series is the best that exists at the moment based on the trailers and from the footage on the set in general on the street fighter theme, except that the anime of 94, in my opinion, was pretty well done, so let’s sit on our butts and not twitch!
In principle, this could have been filmed in one shot from the coach’s perspective, in a long shot.
Also, the first series of blows...would have looked better if the cameraman would have “moved away” a little further so that the legs of the main characters were also in the frame.
- High-quality and dynamic???
Shooting a throw that is covered by KenA's back is the highest standard of quality in camera work and subsequent editing with an upper angle, when in the end of the 2nd cut the angle from below from a distance of 2 meters towards the falling one is clearly requested.
However.
I liked how the yoko-cari-throw series was filmed. High quality and dynamic. If they remove all the combat in this spirit, I will be glad :)
You just didn't understand, we had to get into the spirit so to speak. :)
According to the teaser, according to the teaser we will show the series... inspired by something...
Well, there was a little movement and movement there)
Next time, we will probably be shown a teaser dedicated to the trees in the background. If the wind blew during filming, then at least we’ll see some “movement”...