Director of the movie 300
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Snyder, it would seem, has no choice but to use snap zooms so viewers can see everything they need to see, and everything Snyder wants to share. Snap zooms in this sequence from Snyder’s Man of Steel give a sense that the action is moving too fast for the filmmakers to keep up. Snyder’s on-the-fly effect is precision-engineered. In Snyder’s films, snap zooms convey similar urgency, even as every shot and setup stands as a monument to planning and scheduling. But whatever happens, by all means do it quickly - make it snappy - because the moment is fleeting.
DIRECTOR OF THE MOVIE 300 FULL
Want to step back and look at the full scope of action taking place? Zoom out. If something noteworthy occurs in the frame during filming, zoom in. When making documentaries, action needs to be captured in real-time. The snap zoom holds favor in documentary filmmaking as a utilitarian technique for capturing action as it unfolds, when the director and camera crew don’t have the luxury of calling “cut” to set up another shot, or to change lenses. Snyder and snap zoomsĪ snap zoom is a quick zoom in or zoom out. Here, the speed ramping technique deepens a connection to superheroes by letting viewers experience the powers that make them super: Speed ramping controls information, paces the audience’s attention, and guides viewers’ eyes in much the same way comic book panels do.Ĭharacter motivates speed ramping in this scene from Snyder’s Justice League - the power of Superman, the speed of the Flash. It’s a way to present the varying imagery in comic book panels with a cinematic equivalent - all within a single shot or sequence. Snyder’s speed ramping also mimics the effect of reading a comic book, in movie form. Yes, it’s heavy-handed, though that’s not necessarily a bad thing when evoking comics and graphic novels that were indeed drawn by hand. And now I’m going to speed up so you really feel the velocity of the action in this part.” It’s evidence of a director telling audiences, “Hey, I’m going to slow down right here, so pay close attention to this. It gives viewers a strong sense that someone - a storyteller - is guiding the narrative. The effect of Snyder’s speed ramping is twofold. That means devoting time to shot listing and storyboarding before the cameras roll. What’s the takeaway for directors? Whether a project starts with existing source material or a fresh concept, going into production with a solid visual game plan is crucial. Hewing to the prototype, not diverging too much in cinematic execution, gives the studio the movie it wants. When a comic book or graphic novel gets people excited, that’s what collaborators expect to see on screen: the material that got them excited in the first place. Snyder makes big-budget studio movies, so it’s understandable that multiple executives, producers, and stakeholders hitch their wagon to the project throughout its lifespan. Why change a good thing? Better to take what works and run with it.Īlso, basing his own filmmaking style on source material delivers on the promise of the development process.
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Watch this scene from Zack Snyder’s 300 :Īdhering closely to original artwork accomplishes two things for Snyder: it makes his job easier, since a sizable amount of the heavy lifting is done. This translates to on-screen visuals that look at times almost identical to their printed-page inspiration. He studies every nuance of the original artwork and uses panels straight from the source to construct storyboards and shot lists for his films. This post discusses color, frame rate, editing, and camera concerns in subsequent sections.įirst, a peek at Snyder’s pre-production process.Īs a director, Zack Snyder doesn’t simply read the comic or graphic novel he’s adapting and goes off to make his movie. How does he do it? He orchestrates his iconic Snyder color palettes, shoots action in specific ways, plays with frame rates, and moves the camera - or, more accurately, moves lenses - with purpose. His movies really do look and feel like comic books invigorated for the big screen, like highly stylized epic tentpole operas. Comic book movies are nothing new, but nobody exercises fidelity to the original form quite like Snyder.