Lost Garden
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Épisode 1 · 0:00 à 1:04

The Awakening of the Lantern Knight

25 cases · 32158 px de haut

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Lanterne alone in an overexposed white void with no horizon. Medium shot, waist up, facing the viewer, arms at his sides, the torn beige cape lifting to the right in a slow wind. Small white petals drift across the frame. His colours are washed out, as if remembered.
Two or three small white lily petals drifting across a plain, empty, overexposed white. Nothing else: no ground, no horizon, no figure.
Macro on white lilies filling the whole frame: open trumpets, curled white petals, orange-red stamens, pale green stems, the edges of the frame softly out of focus, white light behind.
A vast field of white lilies under a blown-out white sky. Lanterne stands small at the left in the middle distance, seen from behind at three quarters, facing right. Far to the right and a little higher, on a low rise of lilies, a tiny figure faces him: Rose, in a grey-green hooded cloak, pink hair. Lilies in soft focus in the foreground.
Close on the back of Lanterne's lantern helmet and his pauldrons, seen strictly from behind, slightly off centre; ahead of him, out of focus, the pale field of lilies under a white sky, with a faint pink and grey-green speck far away on the rise: Rose.
Big close-up of Rose against a white sky: short pink bob hair moving in the wind, the white flower in her hair on the viewer's right, large soft eyes looking straight at the viewer, small closed mouth, hood down on her shoulders. A single white petal crosses the foreground, out of focus.
Low insert among the lilies: the lace hem of Rose's cream dress and her small feet standing between white lily blooms, seen from knee height. White light, soft focus in front and behind.
Extreme wide: a rounded hill entirely covered in white lilies under a blown-out white sky. At the summit, a speck: Rose, cloak and pink hair. At the base of the hill on the left, another speck: Lanterne, facing the hill. Lilies in soft focus in the foreground.
Extreme close-up on the side of Rose's head: the white flower tucked in her pink hair above her left temple, strands of pink hair moving in the wind, one petal lifting away from the flower. Plain white sky behind.
Medium close-up of Rose, waist up, among the lilies against the white sky: grey-green hooded short cloak fastened at the collar over the cream dress, pink bob hair, the white flower in her hair on the viewer's right, lips just parted as she speaks, eyes on the viewer.
Rose: Trouve-moi.
Near-total darkness. A tall black panel; at the very bottom, a faint cold cyan haze, like light seen from far above through mist. Nothing else is drawn.
Extreme wide of a vast underground sanctuary in deep blue and black. Pale cyan light falls in long beams from high above through mist; twisted black roots frame the left edge and the top; glowing blue mushrooms and pools of cold light along the stone floor; thin ground mist. Far in the middle distance, tiny, a long stone altar with an armoured figure lying on it.
Medium shot at root level: in the foreground a pale translucent segmented larva-like creature, softly glowing from inside, crawls along a thick black root that crosses the frame diagonally. Behind it, out of focus, the stone altar with Lanterne lying on it in blue light, small mushrooms glowing on the floor.
Detail of Lanterne's steel gauntlet over a black glove resting on the carved stone lid of the altar, palm down, fingers slightly apart; beside the hand, one small blue glowing mushroom; cold blue light from above, thin mist.
Low wide shot along the stone altar from its foot. Closest to the viewer, two dark armoured sabatons rest on the carved stone lid. Above and beyond, an immense ornate circular rose window glows cold cyan and white, its tracery like a mandala, ice-like stalactites hanging from the vault around it; beams of light fall from it onto the altar; carved stone walls in deep blue on both sides.
Wide side view of the altar at floor level: the long stone altar runs across the frame, Lanterne lying on it with the helmet to the left and the beige cape hanging over the edge; huge blue mushrooms in the foreground, roots overhead, thin mist.
The rose window fills the frame, seen from below: a great circular tracery glowing cold cyan, stalactites around it, the light growing brighter as if the window woke.
High close shot on the lying knight from above the altar: helmet to the right, the two small dark eye holes, the cream scarf, the engraved pauldrons, one gauntlet along the body. A first pale beam touches the metal.
Wide from the floor among big glowing mushrooms: the altar far and small in the centre, beams of light now falling hard on it, mist along the ground.
Side view along the altar: the whole lying body from the sabatons on the left to the helmet on the right, tall beams of light behind, the cape hanging off the slab.
Close on the torso: blue light spreads through the armour, the seams of the chest plate and the joints glow cyan, a pauldron dark in the foreground; the glow pulses brighter and brighter.
Frontal: Lanterne sits up brusquely toward the camera, torso and joints glowing bright cyan, arms braced on the stone, white lilies falling in the foreground; the glow fades as he freezes upright.
Frontal medium, sitting on the altar, the glow gone: the hollow helmet turned to the camera, arms down, hands on the stone, mushrooms and roots behind.
Frontal medium, still seated: he lifts his right gauntlet in front of his chest and looks at it, the helmet tilting toward the hand.
Side view, close: he bends forward over his knees, the helmet pointing down at his own body, the cape sliding over his back, one gauntlet flat on the stone, the other at his chest.

Pourquoi chaque case existe

Les notes d'adaptation du moteur : le plan du film dont vient chaque case, et à quoi elle sert.

Source : épisode 1, de 0:00.0 à 1:03.8 · Scene-cut detection and 2 fps frame sampling on the 640 px proxy, subtitle tracks for dialogue timing, screenplay for intent.

Beat b1 · White · 0:00.0 → 0:04.4

Install the memory: a knight alone in a white nowhere.

  1. Case 1 · p01Plan s01 · 0:00.0 → 0:04.4 · medium · 4:5 · 1350px · Correspond à un plan du film

    The first image of the series: a hollow knight standing in white. Opening on him, not on the world, makes the white read as his state rather than as a place.

  2. Case 2 · p01bPlan s01 · 0:00.0 → 0:04.4 · void · 3:2 · 420px · Relie deux plans

    A breath of white between the knight and the lilies: a few petals crossing an empty panel carry the wind of the previous case downward. Nothing happens here, the page only keeps falling.

Beat b2 · The lilies · 0:04.4 → 0:11.2

From a flower to a field: reveal the second figure and the distance.

  1. Case 3 · p02Plan s02 · 0:04.4 → 0:06.3 · detail · 3:2 · 720px · Correspond à un plan du film

    A close insert on the lilies: the only warm colour of the sequence, and the flower the field will be made of. It also breaks the scale before the wide shot.

  2. Case 4 · p03Plan s03 · 0:06.3 → 0:11.2 · extreme_wide · 9:16 · 1920px · Correspond à un plan du film

    The film pulls focus from blurred lilies to the two figures; here the scroll does it. A tall panel makes the distance between Lanterne and Rose a distance the thumb has to cross.

  3. Case 5 · p03bPlan s03 · 0:06.3 → 0:11.2 · close_up · 16:9 · 608px · Même instant, nouveau cadrage

    The counter-shot the film implies: from behind Lanterne's helmet, the field ahead out of focus, so the eye travels toward Rose before her close-up. Same moment as the wide shot, new framing.

Beat b3 · Find me · 0:11.2 → 0:20.6

Rose looks, stands, is far, and asks the one thing she asks.

  1. Case 6 · p04Plan s04 · 0:11.2 → 0:12.9 · close_up · 4:5 · 1350px · Correspond à un plan du film

    Rose's face, silent. She looks before she speaks; the reader meets her eyes with nothing to read yet.

  2. Case 7 · p05Plan s05 · 0:12.9 → 0:13.9 · detail · 16:9 · 608px · Correspond à un plan du film

    A beat of ground: the hem of her dress and her small shoes in the lilies. It says she is really standing there, small and unprotected, before the hill shows how far.

  3. Case 8 · p06Plan s06 · 0:13.9 → 0:16.9 · extreme_wide · 9:16 · 1920px · Correspond à un plan du film

    The widest shot of the sequence: a whole hill of lilies with two specks on it. The upper half of the panel is empty white, so the scroll spends time in nothing before the line.

  4. Case 9 · p06bPlan s07 · 0:16.9 → 0:20.6 · extreme_close_up · 16:9 · 608px · Même instant, nouveau cadrage

    A detail before the only line: the white flower in her hair and a petal lifting from it. It slows the page so that Find me lands alone in the next case.

  5. Case 10 · p07Plan s07 · 0:16.9 → 0:20.6 · medium_close_up · 4:5 · 1350px · Correspond à un plan du film

    The only line of the sequence. Waist-up so the panel is not a repeat of p04: the cloak, the lilies and the parted lips carry the moment.

Beat b4 · Black · 0:20.6 → 0:22.6

The memory ends. Two seconds of nothing, rendered as distance.

  1. Case 11 · p07bPlan s08 · 0:20.6 → 0:22.6 · void · 9:16 · 1100px · Relie deux plans

    The two seconds of black become a tall, almost empty panel: the eye falls with the page, and a first cold glow at the bottom announces the sanctuary without showing anything of it.

Beat b5 · The sanctuary · 0:22.6 → 0:36.3

The present: a vast blue silence, an altar, a knight who has not moved yet.

  1. Case 12 · p08Plan s09 · 0:22.6 → 0:25.5 · extreme_wide · 9:16 · 1920px · Correspond à un plan du film

    After the black fall, the present: the sanctuary in one tall panel. Light enters at the top and the reader travels down the beams to the altar, the way the film's eye does.

  2. Case 13 · p09Plan s10 · 0:25.5 → 0:27.6 · medium · 3:2 · 720px · Correspond à un plan du film

    The first living thing: a pale larva crawling along a root toward the altar. A small panel keeps the world quiet and shows the scale from close by.

  3. Case 14 · p09bPlan s10 · 0:25.5 → 0:27.6 · detail · 16:9 · 608px · Même instant, nouveau cadrage

    A slow travel along the body before the sabatons: his steel gauntlet resting on the stone, one mushroom glowing beside it. It stretches the stillness the film holds with its camera move; nothing new happens.

  4. Case 15 · p10Plan s11 · 0:27.6 → 0:31.3 · wide · 4:5 · 1350px · Correspond à un plan du film

    The last image of the segment: the rose window above the knight's feet. Light on a body that has not moved; the awakening begins right after, so the strip ends on expectation.

  5. Case 16 · p11Plan s12 · 0:31.3 → 0:36.3 · wide · 3:2 · 720px · Correspond à un plan du film

    The sanctuary at his level: the altar seen from the floor among the mushrooms, before anything happens. It sets the axis the awakening will play on.

Beat b6 · The light · 0:36.3 → 0:48.3

The window wakes: light falls on the altar and enters the metal.

  1. Case 17 · p12Plan s13 · 0:36.3 → 0:39.8 · wide · 4:5 · 1350px · Correspond à un plan du film

    The window wakes. Filling a whole tall panel with the rose window, brighter than at 0:29, tells the reader that the light is the event.

  2. Case 18 · p13Plan s14 · 0:39.8 → 0:41.3 · close_up · 16:9 · 608px · Correspond à un plan du film

    From the window straight down to him: a high close shot where the first beam touches the metal. The reader looks at him the way the light does.

  3. Case 19 · p14Plan s15 · 0:41.3 → 0:43.8 · wide · 4:5 · 1350px · Correspond à un plan du film

    Back to the floor: the beams now fall hard on the tiny altar. A tall panel so that the light has room to fall.

  4. Case 20 · p15Plan s16 · 0:43.8 → 0:45.5 · full · 16:9 · 608px · Correspond à un plan du film

    The whole body under the light, from the feet to the helmet, in one calm horizontal line before the light enters him.

  5. Case 21 · p16Plan s17 · 0:45.5 → 0:48.3 · close_up · 4:5 · 1350px · Correspond à un plan du film

    The light enters the metal. The only panel where the armour itself glows: cyan lines running along the seams, held close so that the reader feels it before the shock.

Beat b7 · He sits up · 0:48.3 → 0:54.0

The shock of the awakening, then the emptiness after it.

  1. Case 22 · p17Plan s18 · 0:48.3 → 0:52.0 · medium · 4:5 · 1350px · Correspond à un plan du film

    The shock. He sits up bolt upright toward the reader, glowing, lilies falling: the loudest panel of the strip, full bleed, one hard SFX.

  2. Case 23 · p18Plan s19 · 0:52.0 → 0:54.0 · medium · 4:5 · 1350px · Correspond à un plan du film

    After the shock, nothing: he sits, the glow gone, the hollow helmet turned to us. The reader meets him awake for the first time.

Beat b8 · Black · 0:54.0 → 0:56.0

A second breath of black, shorter.

·

Beat b9 · His hands · 0:56.0 → 1:03.8

He discovers his own body: a hand, then the chest.

  1. Case 24 · p19Plan s21 · 0:56.0 → 0:59.8 · medium · 4:5 · 1350px · Correspond à un plan du film

    After the second black: the first gesture. He raises his right hand and looks at it. The screenplay's 'he looks at his hands, he does not understand' in one image.

  2. Case 25 · p20Plan s22 · 0:59.8 → 1:03.8 · medium_close_up · 3:2 · 720px · Correspond à un plan du film

    He bends over himself and touches his chest. The segment ends on the question the whole episode asks: what is inside.