In fact, those cool special effects shots, such as animation, are not much more difficult to do than movies. Instead, there are a lot of seemingly ordinary action shots and scene scheduling in movies, which is extremely difficult to do in animation. Spielberg has a scene scheduling system called "L System". Take this as an example. Theoretically, a director can film from any angle, but generally speaking, there are basically two kinds of seats: those perpendicular to the direction of the actors' movements and those parallel to the direction of the actors' movements. Spielberg's "L system" is constantly shooting alternately in these two ways:

There is also this advanced method of putting two motion modes in one shot: this makes the connection of pictures not boring, and we are constantly updating new perspectives and having new visual experiences. In fact, this kind of "L"-like lens can also be found in animation, such as Kimyou Kumiko's running: the plane is obviously vertical and then parallel, but the depth of the background can be seen when the mirror is transported vertically. When the mirror moves in parallel, the camera gives Kimyou Kumiko a close-up of his face, and the background becomes texture vision. Passers-by did not dare to draw more, but only drew half a meaning. However, this scene is absolutely the essence of the whole Beijing opera. Kyoto has invested a lot of manpower and material resources in this scene, but such a scene (only this mirror) can only be regarded as a cliche in a real movie.

For example, Bergman used a long lens to close up the actor's face, capturing the uncertainty of the actor's performance in front of the camera for a long time but full of surprises. These small facial changes may arouse the audience's big thinking. It is difficult to do in the art of summarizing reality with concise information, not to mention the lack of surprise and randomness in animation itself. What other shots do you think? Welcome to leave a comment