and physical being merged with a supernatural tree. The visual narrative devices
up the fusion between man and tree with using color, tone and condo.
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These extensive shots of Kanta mix him with the color and tone
of the woods as if he’s practically piece of it. Kanta’s garments share the identical brown
color and slightly grey tone that dominate his setting. The little color
and tonal separation between Kanta and the woods served as visual foreshadowing
of his eventual transformation.
One other thing to stamp is using shafts of mild as
leading traces. Even supposing Kanta blends with the environment the leading traces take care of
the viewers’s attention on him
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Within the scene leading up to Kanta’s fusion with the tree,
regression in spatial depth had been used within the extensive shots to mirror his transformation.
The principle two extensive shots employ deep condo composition to emulate a three
dimensional world. The principle accomplishes deep condo by having Kanta shifting in
the z-axis (a long way from the digicam) and the second shot does it otherwise through the use of
a excessive digicam perspective that creates standpoint traces (tree stump). As the scene
approaches his transformation the sense of depth decreases as evident by the
final two shots. These shots have little spatial depth; solid depth cues that are standpoint traces and
z-axis motion are long gone. Frontal planes (background, mid-ground and
foreground) turn into the foremost but weaker depth cues. By limiting depth the spatial separation between the tree stump
and Kanta decreases and helps salvage a visual invent up of his transformation.