setter dump, made huge exhaust of foreground framing to place aside form out the character
on show conceal and to furthermore create continuity. The characters on play had been ancient for
foreground framing; by doing this the viewers became attentive to the a lot of parts
of the play rising despite not being the focus of the shot. This viewer
awareness used to be essential in rising a sense of continuity, which used to be very
essential for the misdirection the scene used to be going for.
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The major image (prime-left) is the starting of the play,
with Hinata acting as the first decoy. Kageyama is furthermore on show conceal, this helps
with the continuity within the next shot (prime-honest correct) the place aside his body is ancient for foreground
framing. The focus of this shot is the Aoba player witnessing the play map,
which is within the third shot (backside-left). In this shot Tanaka is the 2nd
decoy, all over again Kageyama is being ancient to frame the shot for continuity capabilities.
The fourth image continues Tanaka’s motion.
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This sequence is the next phase of the play the place aside Asahi acts
as the spiker. The major image (prime-left) continues to toughen continuity with
Hinata within the foreground soundless acting as the first decoy. In the next shot (prime-honest correct),
Hinata is ancient to frame and place form out Asahi as he’s about to spike. This of
path on no account took stutter as we look within the next image (backside left) the place aside Kageyama
executes the setter dump. In the next shot (backside-honest correct), Kageyama is
all over again ancient for foreground framing (continuity!) to spotlight the shock on the
opponent’s face.
The storyboarding furthermore helped a lot with rising continuity,
namely the honest correct exhaust of eyeline matches.