Pardon me. I've been getting a string of toxic messages and yours got stuck in the shuffle. Didn't mean to be a dick. Sometimes I get stuck in reactionary mode. Meh. Anyways, Depth of field/Depth of frame is pretty much the same thing. Trying to key in on the difference is like trying to key in on the difference between "fat" and "corpulent."
Anyways, lens blur effect itself is the tool whereas DoF is the technique if that makes sense. So if you use a specific paintbrush, ie Filbert or Fan brush, that's the "tool," and the technique will determine how you can achieve certain things using said tool. So for painting a canvas, you can better achieve the look of palm trees using the Fan brush as opposed to the Filbert. Now, apply that idea towards filmmaking and lens blur.
Lens blur can be used to emulate DoF, so when the background is out of focus and the main object is in focus and vice versa. Also, it can be used as a means to show dream sequences and flashbacks, usually being done by blurring the image around the edges of the frame. You often see this in POV shot format.
My reason for questioning the validity of this technique in VE had to do with the fact it was readily used but in ways that implied nothing of value, outside of just tertiary flourishing. I don't want to use the buzzphrase, but it was very "style over substance" in that regard. And that also applied to other emulated techniques spotted. Time-lapse photography when sparingly used makes sense, but when every single episode does so without even needing it half the time it calls the use into question. VE is littered with these ideas.
And as far as following the rules, yeah, I understand when something doesn't have to follow it, and for the most part, the content makes it readily apparent in those cases. Take the monogatari franchise for example. It constantly ignores spatial awareness as a style, or movies like Fear and Loathing in Las Vegas which abuses several storyboarding and compositions commonalities in order to make the viewer feel inebriated, that way they're placed in the shoes of Depp's character who was on several different drugs. Rules are meant to be broken and often are. This really just boils down to a keen eye for intent vs showboating without understanding. I believe VE was showboating because some of its intent doesn't register anything purposeful in why certain actions would be taken. A good example would be its attempt to emulate natural lighting. It's a cool trick until it also emulated overexposure, which felt more like a misunderstanding than it did a purposeful intent. Hiroshi, the director I mentioned prior, does overexposure on purpose. Stein;Gate acid washed scenery, Orange's summer days and Shigurui's stark contrasts of pitch black nights and blindingly bright days. His intent is clear as day. With VE, the intent is emulation, but whatever the live action source was seemed to have suffered from overexposure unintentionally. There's really no magic way to tell you how I know any of this, it may read as just conjecture to you, but after some time, you just get an "eye" for these kinds of things.
BUT that's all I gottta say. Sorry if I came off pigheaded earlier. If you choose to further the convo, that's fine. If not, one less thing to reply to. And thanks for reading my review, even if we don't see eye to eye on certain things.
Then maybe you shouldn't make assumptions based on technique vs tool. At what point do I make it a point to address the depth of field usage in my review? Never, because it wasn't what needed to be addressed. And yes, they do use lens blur effects to indicate a myriad of things, more in an attempt to emulate film ideas without the knowledge of how use behind them. That's the problem. At this point, this conversation is going in circles in large part to overthinking something that's really not that difficult to understand.
I've addressed all I had to, I refuse to waste my time regurgitating it again, the comments are there, no is seriously that absent-minded to not understand what a lens blur is. I suggest you don't follow down the path of other people that attempt to homogenize many different terms and ideas in an attempt to easily compartmentalize it.
Depth of frame and lens blur aren't synonymous. That's no different than an inexperienced reader stating that motifs and symbolism being on in the same. Its visual style isn't a deficiency in its usage, this too is a fallacy. All of that is circumvented by experience using these styles, and it's for that reason that I compare this to a college student attempt. There are those that can pull this off in the medium. You don't have to look that far out. Just take a look at Oshii's and Kon's efforts, or even Hiroshi Hamasaki (on his better days). I think handwaving issues solely for the saying of "something trying" is not healthy. Observation and impartial analysis are what could lead to growth later on.
Color theory and color placement, blocking, scene composition, understanding of motion vectors; all these techniques are pretty fundamental building blocks that creators have to learn to get better. Taichi is a great key animator, but as far as grasping these things, I haven't seen anything he's done to show me that he has. I think he has raw talent, he just needs to polish it, and not hide behind window dressing in place of improving these fundamentals.
No, there doesn't need to be a complex reason but there does need to be a proper usage. If a construction worker is using a hammer to knock in a screw, leaving abrasions on the object's surface, instead of a screwdriver to gently guide it in, then as a construction worker, he needs to better familiarize himself with his bag of tools. That's all that's being stated here. Do not convolute the message. It's really that simple: raw talent that needs to develop a better understanding of their field of work.
Did you just cherry pick that out without actually reading my intention of mentioning it?
"Lens blur effects used for flashbacks and present-time, not because there's a reason to but because the director can."
And this is in relation to a paragraph highlighting overworked production. Emulation without careful intent runs the risk of peacocking with nothing to truly say. It's no different than a college student film that uses aspects of French new wave solely for the purpose of looking "cool." I don't think anyone is oblivious to the intent of lens blur, what I'm questioning is what purpose does it serve other than a superfluous additive, no different than when the show uses time-lapse photography haphazardly over J-cut scenes of dialogue that's not intended for narrator purpose.
Hey there....I can see that you like Violet Evergarden more now, so I no longer have bad impressions of your preliminary view on it
I do understand now why you didn't really like it at first, though, considering how slow the story may feel, especially in the first half
Hi, I just want to comment on your review. I don't know if your impression toward Violet has changed, so I'll just comment based on your 4 episodes review. I agree that Violet is a bit bland and uninteresting to follow and the first few episodes have been disappointing but I do think that the first few episodes are necessary to give more context and set-up for the following episodes. Yes, it feels a bit uneventful, but imo it is necessary. About Violet (character), I can't really blame people for not taking an interest in her, but I in the last few episodes, Violet as a character has become more enjoyable to follow. For your point about sloppy worldbuilding, eh I can't really say much because I don't really mind with the staffs taking more liberal approach in mixing different parts of every culture like the bowing, honorifics, etc. Overall, I think your review on Violet Evergarden this time is better than your previous. At least you're willing to listen, think more openly and I'm really glad you did. Lastly, I completely agree that the Director is the weakest link. Thanks and have a good day
Was going to get mad at you for your Violet Evergarden review but then I saw that you actually have good taste and all of your criticisms are valid (if not a bit nitpicky). Good day sir.
Was gonna acknowledge why you thought Evergarden is bland to you, but after seeing your other grades for other series, I thought about it otherwise, and now I'm just shaking my head at the kind of anime preferences you have :\
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Pardon me. I've been getting a string of toxic messages and yours got stuck in the shuffle. Didn't mean to be a dick. Sometimes I get stuck in reactionary mode. Meh. Anyways, Depth of field/Depth of frame is pretty much the same thing. Trying to key in on the difference is like trying to key in on the difference between "fat" and "corpulent."
Anyways, lens blur effect itself is the tool whereas DoF is the technique if that makes sense. So if you use a specific paintbrush, ie Filbert or Fan brush, that's the "tool," and the technique will determine how you can achieve certain things using said tool. So for painting a canvas, you can better achieve the look of palm trees using the Fan brush as opposed to the Filbert. Now, apply that idea towards filmmaking and lens blur.
Lens blur can be used to emulate DoF, so when the background is out of focus and the main object is in focus and vice versa. Also, it can be used as a means to show dream sequences and flashbacks, usually being done by blurring the image around the edges of the frame. You often see this in POV shot format.
My reason for questioning the validity of this technique in VE had to do with the fact it was readily used but in ways that implied nothing of value, outside of just tertiary flourishing. I don't want to use the buzzphrase, but it was very "style over substance" in that regard. And that also applied to other emulated techniques spotted. Time-lapse photography when sparingly used makes sense, but when every single episode does so without even needing it half the time it calls the use into question. VE is littered with these ideas.
And as far as following the rules, yeah, I understand when something doesn't have to follow it, and for the most part, the content makes it readily apparent in those cases. Take the monogatari franchise for example. It constantly ignores spatial awareness as a style, or movies like Fear and Loathing in Las Vegas which abuses several storyboarding and compositions commonalities in order to make the viewer feel inebriated, that way they're placed in the shoes of Depp's character who was on several different drugs. Rules are meant to be broken and often are. This really just boils down to a keen eye for intent vs showboating without understanding. I believe VE was showboating because some of its intent doesn't register anything purposeful in why certain actions would be taken. A good example would be its attempt to emulate natural lighting. It's a cool trick until it also emulated overexposure, which felt more like a misunderstanding than it did a purposeful intent. Hiroshi, the director I mentioned prior, does overexposure on purpose. Stein;Gate acid washed scenery, Orange's summer days and Shigurui's stark contrasts of pitch black nights and blindingly bright days. His intent is clear as day. With VE, the intent is emulation, but whatever the live action source was seemed to have suffered from overexposure unintentionally. There's really no magic way to tell you how I know any of this, it may read as just conjecture to you, but after some time, you just get an "eye" for these kinds of things.
BUT that's all I gottta say. Sorry if I came off pigheaded earlier. If you choose to further the convo, that's fine. If not, one less thing to reply to. And thanks for reading my review, even if we don't see eye to eye on certain things.
I've addressed all I had to, I refuse to waste my time regurgitating it again, the comments are there, no is seriously that absent-minded to not understand what a lens blur is. I suggest you don't follow down the path of other people that attempt to homogenize many different terms and ideas in an attempt to easily compartmentalize it.
Have a good day.
Color theory and color placement, blocking, scene composition, understanding of motion vectors; all these techniques are pretty fundamental building blocks that creators have to learn to get better. Taichi is a great key animator, but as far as grasping these things, I haven't seen anything he's done to show me that he has. I think he has raw talent, he just needs to polish it, and not hide behind window dressing in place of improving these fundamentals.
No, there doesn't need to be a complex reason but there does need to be a proper usage. If a construction worker is using a hammer to knock in a screw, leaving abrasions on the object's surface, instead of a screwdriver to gently guide it in, then as a construction worker, he needs to better familiarize himself with his bag of tools. That's all that's being stated here. Do not convolute the message. It's really that simple: raw talent that needs to develop a better understanding of their field of work.
"Lens blur effects used for flashbacks and present-time, not because there's a reason to but because the director can."
And this is in relation to a paragraph highlighting overworked production. Emulation without careful intent runs the risk of peacocking with nothing to truly say. It's no different than a college student film that uses aspects of French new wave solely for the purpose of looking "cool." I don't think anyone is oblivious to the intent of lens blur, what I'm questioning is what purpose does it serve other than a superfluous additive, no different than when the show uses time-lapse photography haphazardly over J-cut scenes of dialogue that's not intended for narrator purpose.
It's all fluff.
I asked around and someone pointed me to a raw. Sorry for bothering you.
I do understand now why you didn't really like it at first, though, considering how slow the story may feel, especially in the first half