Desolation of Smaug frame-by-frame analysis Pt. 2+3/230,000

Previous part (read for disclaimer!): ERRATA OF PT. 1:
The time index of frame 1 was not 00:01:05.962! The correct time index of frame 1 is: 00:01:05.232!

Since yesterday's post had to be skipped for time management reasons, in today's post we shall cover two frames to make up for it. One issue of importance should also be addressed: The approach of analyzing a film frame-by-frame is an inherently reductionist one - meaning the frames stand for themselves, and the moving picture aspect of the frames shown in sequence is largely ignored. However, given the fact that such an approach tends to get repetitive (consider, for instance, a frame-by-frame analysis of a child on a swing; the repetitive nature of the source material would necessarily induce repetition in the analysis of the individual frames it comprises), we shall, from time to time, and not only for that reason, but also so that we might gain more insight over individual frames, consider sequences of frames and gradients (in movement, focus, brightness, contrast etc.) that arise from them.

Now, on to our next frame.

FRAME 2
TIME INDEX: 00:01:05.274

From the dim structures almost invisible in the almost complete darkness that was frame 1, we can now see shapes slowly crystallizing into the realm of brightness levels discernible to the human eye. What had to be artificially enhanced in the previous frame, now stands for itself: We can now say with high confidence, that yes, those are indeed likely to be roofs, and yes, indeed some source of light shines on them.
It is a satisfying thought that the very first frames of a high fantasy epic would already include the light, a symbol deeply associated with hope and perseverance throughout almost all cultures.

Attached: frame_000002.jpg (1920x1080, 45K)

Once again, to quote Gandalf, risking a little more light would seem sensible. And indeed, it is a settlement. Where are we? How did we get there? Questions only future frames will hopefully have the potential to answer...

Attached: frame_000002_enhanced.jpg (1920x1080, 127K)

thrilling. can't wait for part 3

FRAME 3
TIME INDEX: 00:01:05.315

Could the open space between the houses be a road? Where does it lead to? If it is a road, why is the light reflected from it to such an extent? Is the road wet? Is it raining? Clearer and clearer, we start to see a scene. Excitement mounts. Where are we? Who are we? Where will we be taken by all this?

Attached: frame_000003.jpg (1920x1080, 52K)

Release the fourth frame before I piss meself

Already, we are at brightness levels where hitherto helpful histogram transformations start becoming distracting: The extreme brightness correction removes all perceptions of depth and space from the image; it exaggerates glare and light sources and thus is misleading. If anything, it serves to solidify what was already well-known: The shapes around the light being roofs of buildings.

Attached: frame_000003_enhanced.jpg (1920x1080, 170K)

Whoa, slow down, faggot.

You promised us one frame per day.

In this small GIF, we see the progression of brightness between frames 1 and 3. We can therefore extrapolate that very soon, the scene shall become considerably more apparent. We know now that we are in a town or some other kind of settlement: We can therefore theorize that the film is of an extroverted nature: The movie starts in a town, it starts (with respect to human bonds and socialization) "inside" and the jorney that will take place in the movie's plot seems likely to be facing beyond the limits of this town, or "outside". An abstract plot device that seems common in Tolkien's works (or filmic adaptations thereof).

Attached: frames_000001-000003.gif (960x540, 131K)

FASTER

What level of autism is this?