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Shot Zero (@_shotzero) profile picture

Shot Zero

@_shotzero

We talk about shot design - because shot design isn’t just how it looks and feels, it’s how it works. || Produced by @stuwillis & @mehlsbells and @draft_zero

 Melbourne / Naarm
shot-zero.com
Joined July 2022
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Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)
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Josh Raby (@JoshRaby) profile picture
Josh Raby@JoshRabyNov 3
I think about this scene all the time in terms of timing and restraint. The less it does, the longer, the more unnerving.
sam. (@suddenxfear) profile picturesam.
@suddenxfearNov 2
i can’t imagine how shocking this scene must have been for audiences back then. pure coldness
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Am I insanely proud of this @_shotzero tagline? Yes. Is that deserved? You tell me. shotzero.substack.com/p/how-…
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Shot Zero retweeted
abram (@abnormcore) profile picture
abram@abnormcoreJul 19
Replying to @_shotzero
nitter.cf/silentmoviegifs/status…
Silent Movie GIFs (@silentmoviegifs) profile pictureSilent Movie GIFs@silentmoviegifs14 Mar 2025
Here's a really cool shot from Won in a Closet (1914), directed by and starring Mabel Normand
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Nunca había reparado en algo tan evidente. Contrasta y dialoga con los créditos de '¿Qué he hecho yo para merecer esto!!'.
Shot Zero (@_shotzero) profile pictureShot Zero@_shotzero19 Jun 2025
In Roger Ebert’s 4-star "Volver" review he notes how the camera establishes past versus present day, then combines them, in this scene: "In exemplary classic style, Almodovar uses a right-to-left tracking shot to show this housekeeping carrying us back into the past . . ." 1/2
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Voices of Disney villains, in the flesh.
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I never even considered that it wasn’t enclosed like an actual elevator
Grey's Anatomy (@GreysABC) profile pictureGrey's Anatomy
@GreysABCOct 30
breaking the third... and fourth... walls of this moment
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Shot Zero retweeted
Migli🔮 (@artbymigli) profile picture
Migli🔮@artbymigliOct 27
Close enough, welcome back Leslie Knope
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I don't care what anyone says: Texas Switches are truly magical. One of the best examples of the practical approach yielding a mind-blowing result.
edgarwright (@edgarwright) profile pictureedgarwright
@edgarwrightOct 26
'Last Night In Soho' turns 5 this week. I'll post some behind the scenes photos in the next few days. But enjoy this breakdown of the 'Cafe De Paris' dance sequence with Anya Taylor Joy, Thomasin McKenzie and Matt Smith, choreographed by the great Jennifer White. Too many amazing people worked on this film with me, and there are sequences (like this) that I'm insanely proud of. Shoutouts to Marcus Rowland for this incredible set, the genius DOP Chung-Hoon Chung, our amazing VFX supervisor Tom Proctor and, in this scene especially, the magnificent camera operator Chris Bain. Enjoy and more soon! @lastnightinsohomovie @focusfeatures @FictionComplete @workingtitlefilms
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Excalibur (1981) is peak Terry English' armor. You can nit-pick aplenty, but it was one of the last times and entire cast of Knights hit the screen in full, polished armor. Notice the Grail embossed over Lancelot's plackart, plenty of nice details like this.
Image from The Late Knight Show (@Knightly_Hist)
Image from The Late Knight Show (@Knightly_Hist)
Image from The Late Knight Show (@Knightly_Hist)
Trey the Explainer (@Trey_Explainer) profile pictureTrey the Explainer@Trey_ExplainerJan 22
The way I just went “holy shit” with my jaw on the floor when we caught a glimpse of this design
Image from Trey the Explainer (@Trey_Explainer)
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Shot Zero retweeted
ford (@fordreboot) profile picture
ford
@fordrebootOct 22
every time i watch the exorcist i get to this scene and i'm like yeah man that is some of my favorite looking 40 seconds of film ever
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Shot Zero retweeted
edgarwright (@edgarwright) profile picture
edgarwright
@edgarwrightOct 20
We shot the aftermath first. Then redressed everything to shoot the 'before times' after. The ace steadicam operator was Paul Edwards. It was the first day of the shoot on the film too!
cinesthetic. (@TheCinesthetic) profile picturecinesthetic.
@TheCinestheticOct 20
SHAUN OF THE DEAD (2004) uses the exact same walk before and after the zombie outbreak, turning an ordinary morning routine into a brilliant visual joke. The attention to detail is unreal.

Shaun of the Dead (2004)

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Shot Zero retweeted
jo. (@sereneObscurity) profile picture
jo.@sereneObscurityOct 18
just came across the mother of all transitions in anna magdalena (1998)
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Shot Zero retweeted
Gene Park (@GenePark) profile picture
Gene Park@GeneParkOct 17
underrated part of this scene is how the camera work goes from steady to shaky because the camera crew was struggling not to lose it too
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Wicker knows its target audience. Phenomenal. No notes.
Image from Cora Harrington (@CoraCHarrington)
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ALICE'S ADVENTURES IN WONDERLAND (1972) contains an unbroken 30-second shot that shows Alice magically shrinking in the frame after eating a magic mushroom, which continues to baffle people for over 50 years. What you see really happened in one take with no cuts. There were no green screens, no compositing shots together and no digital VFX or CGI. It was captured in camera. How do you think this incredible shot was accomplished?
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It's spooky season, which also means some of the most gorgeous movies ever made!
Shot Zero (@_shotzero) profile pictureShot Zero@_shotzeroOct 11
Today on our substack we look at five of our favorite shots from the SUMPTUOUS 1964 horror The Masque of the Red Death. Just LOOK at this set design! buff.ly/lqp3nXs
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How #CARRIE uses split diopter shots to convey information and add to our sense of unease. mehlsbells.wordpress.com/201…
Image from Mel Killingsworth (@mehlsbells)
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♡ (@taesdawn26) profile picture
♡
@taesdawn26Oct 6
chungking express, 1994
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Shot Zero retweeted
Manu (@manuthebest58) profile picture
Manu@manuthebest58Oct 6
Hitchcock uses a sequence of images of the architectural space as a transmitter of a specific musical message. It's a reverberating space, which "transports" the melody to its destination. The Man Who Knew Too Much (1956)
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Shot Zero retweeted
Chucky101 (@Chucky101_blood) profile picture
Chucky101@Chucky101_bloodOct 5
“ Why do you love black and white films so much?” The film:
Daniel Hood (@DanielHood4) profile pictureDaniel Hood@DanielHood4Oct 5
“Why do you love black and white films so much?” the film:
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