Wakanda Battle Scene - "I'm Not Dead" Scene - Black Panther Returns Scene - Black Panther (2018) Movie Clip

 Wakanda Battle Scene - "I'm Not Dead" Scene - Black Panther Returns Scene - Black Panther (2018) Movie Clip

https://www.youtube.com/watch?v=ducbz9dZO2w

I chose this segment of the film because I like all of the panning and gimbal shots.

Scene :0-:12 the camera is essentially a drone this shot is also a POV/ I cam angle

Scene :19-:21 are "close up shots" of the three characters

Scene :23 is a "low angle- looking up" - we and the actors are looking up at the crashing space ship.

Scene :29 is an "extreme close up" shot because it shows that this character is the most effected right now.

Scene :34 is a moving "tilt" shot. The camera is going forward and up.

Scene :49 we see a "birds eye view" and a "extreme long shot" of the people and field.

Scene :50-:54 are "medium close up" shots of the two main characters. I think the reason for the sudden change of angles on the characters (the extreme close up shots to now medium) I think is because now they are trying to scale the two actors against each other to bring energy for the next clip.

Scenes 1:13-1:45 are filmed on a "telephoto lens". We are able to see this by how we are close up on the characters and the background is extremely blurred out.

Scene 1:37 "extreme close up" shot. This shot here is to show the audience the stress he is under by zooming in on his face so we can see all of the eye squints and face movement.

Scene 3:57 contains "on scene" noise. The noise of the rhino licking the women's face is on on screen and "synchronous".

This movie is filmed in the "2:39:1 aspect ratio" and is in high "quality, digital" form.

The lighting in this movie is set at "correct exposure", all though a few of the scenes are very bright.

Throughout this scene the cuts between different clips and characters are done by use of "cross cutting"

I have attached here the chart I used to analyze this scene.

the shot	A shot is an uninterrupted sequence of film/video bounded by edits. Note that camera and/or actors can move or zoom, and any elements below can change as that happens.
focal depth/ implied proximity		Closer to people’s faces seems more intimate and “about” the character, usually.
		extreme long shot/ establishing shot (XLS)	Bigger than characters. Places. Cities.	Lord of the Rings: Return of the King  (2003)
		long shot (LS)	Bigger than characters, but they are in the space.	Pride and Prejudice (2005)
		medium long shot (MLS)	Knees up. Often action scenes.	Wonder Woman (2017)
		medium shot (MS)	Waist up. Common “two shot” (see) à	Captain America: Civil War(2016)
		medium close up (MCU)	Chest up.	Moonlight (2016)
		close up (CU)	Face.	A Fantastic Woman (2018)
		big close up (BCU)	Some of the face is out of frame.	Vast of Night (2020)
		extreme close up (XCU)	A feature of the face.	The Good, the Bad, and the Ugly (1966)
		close on	Close up of an object.	Pee Wee’s Big Adventure (1985)

sound	These 5 pairs of terms can overlap and serve to differentiate kinds of sounds. For example, a voiceover is diagetic…
		diagetic	Supposed to be in fictional world.	This is like 99% of film sound.
		non-diagetic	Not supposed to be in the fictional world. Usually the soundtrack.	Music (most of the time). Rare other possibilities. A narrator might be, although if they turn out to be a character in the world, no.
		onscreen	We can see the source that is supposed to be making the sound.	This is like 99% of film sound.
		offscreen	We can’t see it at the moment.	Let the Right One In (2008) The sound of the door opening a second in.
		simultaneous	Sound takes place at the time of the action onscreen.	This is like 99% of film sound.
		nonsimulataneous	Sound takes place at another time/place than the action.	A Christmas Story (1983) (watch to :15 to see hos the narration is synchronous, though)
		synchronous	Matching the action on screen.	This is like 99% of film sound.

angle	Looking up gives them power. Looking down disempowers them.
	bird’s eye	90° down.	The Shawshank Redemption(1994)
	high	Looking down.	Parasite (2019)
	eye level	Straight on from level.	La La Land (2016)
	low	Looking up.	Star Wars: The Last Jedi (2017)
	worm’s eye	90° up.	Psycho (1960)
	canted/Dutch	Tilted off axis.	Harry Potter and the Chamber of Secrets (2002)

lens		Films often use various lenses.
		wide angle		Allows for deep focus (multiple planes in focus).			Citizen Kane (1941)
				Can result in fish-eye distortion.			The Favourite (2019)
		telephoto/zoom		limited focal depth			Casino Royale (2004)
				flattened space			Casino Royale (2004)
				Allows for rack focus			The Host (2006)
image quality		Film is a sandwich of light-sensitive particles in fluidic emulsion sandwiched between harder layers of acetate. Less expensive and/or faster film leaves more unresponsive particles in the emulsion, leading to speckly grain. This can be an aesthetic choice (gritty, realistic, etc.)
		film	grain	high grain/grainy			Ghostbusters (1984)
				low grain/smooth			Lawrence of Arabia (1962)
		condition		Film degrades over time and needs restoration. Some films are left behind and forgotten.		degraded/unrestored	Mrs. Pollifax, Spy (1971)
						restored	Wizard of Oz (1939)
		quality		smaller film stock		16mm	El Mariachi (1992)
						8mm	The found footage in Sinister(2012)
		video	“quad” tape	Videotape was standard for many TV shows from the 50s-70s, and some kids shows are still shot on it.			Watch a few seconds of General Hospital (1981)
		Hi8		Home video cameras are used, but rarely.			Watch a few seconds of The Blair Witch Project (1999)
		digital	high res				The Hobbit: The Desolation of Smaug (2013)
		degradations added/virtual grain		For aesthetics and/or to make it seem more “believable.”			The Joker (2019)
		low res		Using simpler tech (phones, Zoom, etc.)			Host (2020)
exposure	The amount of overall light.
underexposure		extreme					Halloween (2007)
		somewhat					Hereditary (2018)
		“day for night”		Old trick to make daytime look like night.			The Leopard Man (1943)
“correct” exposure				You can see lights and darks.			La La Land (2016)
overexposure		in darkness		Creates a glow or halo.			Lost Highway (1997)
		in light		Washes everything out.			White (1994)
editing	The joining of shots together.
styles		“classical cutting”		The norm for editing for 100+ years. The idea is to explain scene transitions in and out of a space.
				outside in	XLS à … à … àcharacter		LOTR: Fellowship of the Ring(2001)
				inside out	character à … à … à XLS		Captain America (2011)
				master shot & coverage		This is a ubiquitous style by which a director provides material to editors to give freedom to shape the film in the editing room. A master LS of the shole scene is filmed, and the MS or closer of each character is filmed; again the whole scene each time. It can all be put together in many ways. For example: The Dark Knight (2008)
				cross cutting/ parallel editing		Cuts back and forth between characters geographically separated and/or doing different tasks. Often these scenes have little to do with each other, and it is like we are watching mini movies woven together, but here’s an example where they are so connected the sounds lap over into the cross-cut scenes: Lord of the Rings: Return of the King  (2003)

photography
aspect ratios		See this diagram – the top 3 traditonally used 35mm film.
		1.33:1 (4:3)	Dominant size for pre-1950s films and pre-1990s TV. The natural, whole frame of 35mm film.	Citizen Kane (1941)
		1.78:1 (16x9) & 1.85:1	Dominant size for 1950s-current films. Only a portion of the 35mm film is used.	North by Northwest (1958)
		2.39:1	Anamorphic widescreen. Film is recorded by a lens that squishes the print down by half on width and it is restored in post-production. This made widescreen cheaper and easier than 70mm (see before and after[*almost* the same moment] of Spartacus [1960]). But the stretch can create odd visual artifacts à	LOTR: Fellowship of the Ring(2001)
				The Royal Tenenbaums (2001)
		2.75:1	Panavision. Larger 65mm film stock. No distortions.	2001: A Space Odyssey (1968)