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Director: Nina Lopez-Corrado Cinematographer: Serge Ladouceur Episode: 13.06, “Tombstone”
I don’t really have many thoughts about the visuals in this episode–as is typical of Nina’s work, they’re pleasing to look at, but nothing that grabs the attention and forces you to stop and really look. But I do like the little slope formed by Dean, Cas, and the deputy in the fourth image, and then again…
Book One: In a Cursed Hour Chapter Five: Allegiance Summary: Sam and Dean meet another Men of Letters legacy in Los Angeles, and have a discussion about choices. Length: 7400 words
For all that it’s massive and impossible and that there’s still zero sign of their dad, after a long and frustrating meander over six hundred miles of freeway, Sam has to give California this: it’s warm. Not that Dean seems to be appreciating it, of course.
For wetsammywinchester: stairs (seasons 1-2). Don’t really have any thoughts on this set, aside from how it’s kind of cool to see so many different styles of stair architecture. Also, there are definitely limitations on how you can film them–only so many angles available.
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Back in 2016 I offered to create thematic sets for some friends. My good buddy Zmediaoutletasked for ones where the focal character had their eyes hidden or cropped out by the framing. Since images fitting that exact description proved a bit thinner on the ground, at least in season 1, most of the ones in this particular set have only one eye obscured, or their mouth instead. In going back and…
Director: Phil Sgriccia Cinematographer: Serge Ladouceur Episode: 6.08, “All Dogs Go to Heaven”
This looks like a shot from a heist movie, minus the rest of the heist team.
Director: Jerry Wanek Cinematographer: Bradley S. Creasser Episode: 9.14, “Captives”
#talk about every frame a painting #the intense blackness behind #the spot of light in the foreground #the khaki shirt mirroring the wall #it looks like it was done by a particularly depressed dutch master #beautiful
http://zmediaoutlet.tumblr.com/post/149242152321/thebratfarrar-a-tribute-to-season
One…
For milly_gal, wide shots without the Winchesters as focus (seasons 1-2).
Although the lighting in general is pretty dark, Serge Ladouceur still managed to create a variety of textures across this selection of interior and exterior wide shots.
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for violeteyedcat: kitchens and food (seasons 1-2)
It’s kind of impressive just how much food has been in the show over the years–once you start looking for it, it’s all over the place. Here are some examples where it’s visually prominent (to some degree).
(Dean’s enthusiasm over the mini Philly cheese steaks is so endearing.)
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Director: John F. Showalter Cinematographer: Serge Ladouceur Episode: 12.17, “The British Invasion”
I have nothing profound or even vaguely interesting to say about these caps. I just love how vulnerable Dean looks like this–asleep on the table, not even the vaguest attempt at putting on a strong front. Defenses down in a way he rarely allowed in the days before he had a home.
(You could…
Title: Respite Author: @thebratfarrar Artist: @merakierosart Word count: 8312 Rating: G Warnings/Tags: None, case fic, accidental vacation
Summary: In the wake of the events of “Thin Lizzie”, Sam and Dean follow a possible lead to Amara’s whereabouts.
Dean shoves his plate aside and spreads the paper out, flicking idly through the rest of the pages, and stops on the next-to-last page. “Huh. Maybe there is something to it.” His turn to fold the paper up and pass it back to Sam.
PLAGUE OF BIBLICAL PROPORTIONS AT WELLS STATE PARK, the headline reads.
“Huh,” Sam says.
Director: Jeff Woolnough Cinematographer: Serge Ladouceur Episode: 5.16, “Dark Side of the Moon”
FORTINBRAS Take up the bodies: such a sight as this Becomes the field, but here shows much amiss.
– Hamlet, act 5
Director: Kim Manners Cinematographer: Serge Ladouceur Episode: 1.08, “Bugs”
HAMLET There’s another: why may not that be the skull of a lawyer? Where be his quiddities now, his quillets, his cases, his tenures, and his tricks? why does he suffer this rude knave now to knock him about the sconce with a dirty shovel, and will not tell him of his action of battery? Hum! This fellow might be in’s time…
Director: Cliff Bole Cinematographer: Serge Ladouceur Episode: 3.06, “Red Sky”
Artist: John Singer Sargent Title: Portrait of Madame X Medium: Oil on Canvas Year: 1884
The similarities are obvious–an elegant young woman with brown hair, dressed in a black evening gown that shows off the shoulders and decolletage, standing next to a table upon which she is leaning with her right hand.
The…
Director: Eric Kripke Cinematographer: Serge Ladouceur Episode: 2.20, “What Is and What Should Never Be”
I like how the apparent source of light in this shot is the open pages; Sam is completely in silhouette except for the hand that’s in contact with the books. There’s a great sense of isolation, as if nothing exists outside of the books and whatever happens to be touching them.
Director: Kim Manners Cinematographer: Serge Ladouceur Episode: 2.13, “Houses of the Holy”
Something about this makes it feel very much like a painting–perhaps it’s the blank backdrop of the gray wall. Or the filtering of the light through the window, the highlights on the woman’s hair and wrist and the folds of her blanket.
Regardless, it perfectly conveys the sense of peace that she…
Director: Robert Singer Cinematographer: Serge Ladouceur Episode: 12.09, “First Blood”
MICK: And just like that, the Winchesters are back, for better or worse. True, they did leave loose ends, but… that’s what Mr. Ketch is for. Every person who knew about Sam and Dean’s little adventure in assassination has been dealt with. – 12.09 Superwiki transcript
When I first watched this…
Director: Phil Sgriccia Cinematographer: Serge Ladouceur Episode: 4.19, “Jump the Shark”
Artist: Johannes Vermeer Title: Woman with a Lute (De luitspelster) Medium: Oil on canvas Year: c. 1662-1664
It’s not a perfect match, of course–in the Supernaturalscreen cap the lighting is coming from behind the seated figure, meaning there’s only a little bit of light shining directly on Dean’s face,…
