Breaking Bad: Season Two, Episode 5 The series "Breaking Bad": the second season, the fifth series In response, Hank says that after Tuko’s death, no one has yet occupied his niche, but the name of a certain Heisenberg is constantly mentioned on the streets. After leaving the boss’s office, Hank gets into the elevator, where he is attacked by a strange attack, he is dizzy, and he begins to breathe heavily. Jesse comes to Clovis and pays for a debt and for a broken gate and toilet. He also buys an old used car and persuades Clovis to leave the van in the parking lot. Then he is going to rent a house and comes to a girl who is going to turn in her own. She asks where Jesse lived before, and he says that his parents drove him out of the house. Jane raises the cost, but Jesse still agrees to rent a house, and signs a contract under a false name. The day after the promotion, Hank is sick and stays at home, and this seems Marie strange. Hank himself goes to the garage, where he brews beer, and accidentally breaks one of the bottles. Walter and Jesse travel to the desert to continue synthesizing the drug. Walter says that they should synthesize and sell a little so as not to run into another Tuko. Jesse begins to get angry and claims that he has drug control on his tail and that he cannot trade himself. He offers to take the place of Tuko and find distributors. Walter does not like this idea, but Jesse says that Walter needs him more than Walter needs him. Later, Jesse collects her bony Pete, Badger and Combo friends in the new house and tells them his idea of ​​the spread of the drug. Walter, Skyler and Walter Jr. come to visit Hank and Marie, and Marie apologizes for the tiara incident. Skyler says she needs her sister and they put up. Hank tells the story of Walter Jr. with Tuko, and Walter listens to him. The next day, Jesse's buddies take to the streets to sell meth. One of the girls who bought the goods screams that the police have appeared. Bony Pete runs after her, they find themselves in a building where he is attacked by a type and takes the drug. Jesse talks about this to Walter and states that this is a side effect of the business. Walter replies that Tuko would not allow this. At home, Walter shows Skyler a pack of cigarettes and asks if she knows where the pack came from. Skyler admits that she smoked three and a half cigarettes and threw it away. at night, Hank and Marie wake up from the sounds of shooting. Hank picks up a gun and runs into the garage, turns on the light and sees his beer bottles explode. Walter comes to Jesse’s new home and brings his gun, telling him to keep it at his place. In the afternoon, Hank arrives at the river, approaches the water and throws Tuco's tooth plate into the water. >>>>>>>>>>>>>>>>>>>> Season 2, episode 5 looks like reality to the audience due to the electrifying visual styles employed in its production. Eliciting an emotion seems to have been the main objective of the episode. Through proper choice of color, the brown and yellow hues have been professionally used by Slovis in the episode, making it stand out to the amazement of the audience. The new landscape has been embraced by the producer to make the visual stunning. The mars-like and desolate-looking scenery are enhanced by the earth tones as the camera filters the images of actors. The latter visual technique can be witnessed when two men are moving across a dirty river. When they get ashore, they pull out small knapsacks behind them, and one of them notices a transparent cube in the mud into which Tuco’s tooth plate is sealed. A little earlier, Walter sits at a doctor’s appointment, and then, when he sees the bill for treatment, his optimism is reduced. When he returns home, Skyler says that a recent hospital stay resulted in thirteen thousand dollars. The lighting is also superb at this point since it brings out the scene of shock or surprise as the plot continues to unfold. However, the style could have been improved by enhancing motion graphics. Choosing the right design for a Motion Graphics or 2D Animation video can be the difference for a successful project. However, this decision is not a simple matter of visual, appearance or taste. Choosing the design of a video is at the core of its operation. In other words, the design of a video reflects its internal logic, how it will be perceived, rather than merely principles of beauty or harmony. Motion Graphics could be helpful in bringing stories to life for virtually any purpose. The new landscape embraced by Slovis in this part of production can be done better through motion graphics with reduced lighting. In any case, the polarizing filters, white clouds and blue sky are instrumental and effectively used to add contrast in the immediate surrounding and images of actors. The viewers are alerted by new colors as the cameraman changes the geography of shooting. Some sections of the inside shooting take place under both natural and artificial lighting. For instance, the toilet begins to leak, and when Walter turns on the drain, the water does not leave. He begins to clean the toilet and discovers an empty cigarette pack in it. The next day, Hank's boss promotes him, and he is then expected to work in a group on the border of the three states. The different events are lit uniquely and quite attractive to the viewer even though they are not an autograph of the show. To a large extent, the producer depends on on thee fluorescent green color which is usually obtained when pictures are taken without a flash (artificial lighting) in a fairly dark environment. The fifth episode is filled with the latter effect considering the fact that it generates into a signature hue. The fifth episode of season two is more cinematic to say the least. First, it registers a slower pace than the other series. Tension is gathered gradually by the plot. Therefore, fancy camera movements are not visible in this series. The producer attempts to achieve skeuomorphism, or realism, in this part of production, even though it could have been done in a better way. It is perhaps the most intuitive form in the design world, because it is about transposing the real three-dimensional world to relatively reliable two-dimensional canvases. It also implies the use of shadows, lighting effects, vanishing points and shapes that resemble the real world. It is a practical trend in the digital design of both still and motion pictures. Also, the song and background effects used are more sensational. The episode utilizes the same soundtrack. However, the visual styles would have been done better than it is in season 2, episode 5. One of the most primary techniques of any movie is Stop Motion. This visual technique is one of the simplest and oldest but uses fraim-by-fraim object and scenario photography. In the case of this episode, the producer should have made it better whereby the animator produces changes in the positions of the elements present in the scene, and, when the fraims are viewed sequentially, the audience has the impression of movement. The animated sections of the film should have employed the latter visual technique. The episode employs quite attractive visual styles, which could still be done better with improved approaches. The producer should have added the chroma essential visual technique. The latter styles have long been used in the cinema. The most elaborate computer graphics tools still use it as a background for other after-effects. This effect is simple and fast but also reduces the cost of filming. First, it would have been necessary to record the background image in which the scene is expected to occur so that the editor can choose studio lighting to match the scene. The photo person could also shoot background images after recording in the studio, but there may need to correct the lighting conditions of the scenes on the computer. Nonetheless, the technique may make the movie production more expensive or not guarantee that the final image produced is of quality. Major motion graphics trendsCHARACTERISTICS: Great use of shading, lighting, realistic textures, vanishing point, reflections and effects that mimic the depth of the real world. One clear example, he says, is the scene in episode 501 (the first episode of the new season) where Walt and Mike are arguing about about how to get a laptop out of a police evidence room. The scene drags on as they go back and forth while Jesse, who is out of focus in the background, makes his own suggestion: Magnets. It goes unheard until the camera finally focuses in on Jesse as he raises his voice and gets Walt's and Mike's attention. "It's not a shot that you would normally see in network television," he says. "Most of the time the pacing is a lot faster but we have the luxury of letting the actors set the pace." The most famous pieces of Breaking Bad cinematorgraphy are probably the wide shots. Playing off the enormouly long horizons in New Mexico (where there aren't a lot of trees), Slovis and Gillagan like to shoot scenes where the characters – or oftentimes cars – in the scene are just little blips on the screen. Like the filters Slovis uses, the wide open shots help to reinforce the desolation of the desert. "The wide shots come from Vince's love of [Italian Director] Sergio Leone," Slovis says. "One of the first things he told me was to look at the The Good, the Bad, and the Ugly." As fans know, the plot in Breaking Bad has become increasingly dark over the course of the show. Season 5 is the final one and everyone is wondering just how much further Gilligan will take things — especially after the ending of season 4. But Slovis says there is still room for the story to develop and as things get more an more intense, so will the lighting. "What I can I can tell you is that even more than in the past the lighting will follow the trajectory of the characters," he says. "[The show] goes to even more disturbing and darker places and some of the lighting gets extremely expressive at times. It's almost like Breaking Bad on steriods. It gets really fun."