Eighth Grade cinematography — film frames and visual analysis

2018 · 223 frames · Directed by Bo Burnham

Explore 223 frames from Eighth Grade and study the film’s composition, color palette, lighting, shot scale and aspect ratio. Open any frame to use composition guides, color analysis and false color tools.

223 frames 1.85:1 Mostly wide shots
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Wide shot frame from Eighth Grade — sitting, standing, room
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Wide shot · Medium brightness · Muted orange
Wide shot frame from Eighth Grade — walking, person, human face
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Wide shot · Medium brightness · Muted orange
Wide shot frame from Eighth Grade — hand, suit, tie
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Wide shot · Medium brightness · Gray
Wide shot frame from Eighth Grade — hand, hair, person
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Wide shot · Medium brightness · Dark red
Wide shot frame from Eighth Grade — standing, phone, street
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Wide shot · Medium brightness · Dark yellow
Wide shot frame from Eighth Grade — standing, face, hair
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Wide shot · Medium brightness · Dark green
Wide shot frame from Eighth Grade — standing, door, house
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Wide shot · Medium brightness · Muted orange
Wide shot frame from Eighth Grade — sitting, book, table
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Wide shot · Medium brightness · Dark orange
Wide shot frame from Eighth Grade — standing, chair, umbrella
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Wide shot · Medium brightness · Dark red
Wide shot frame from Eighth Grade — standing, kitchen, hand
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Wide shot · Medium brightness · Dark yellow

Visual profile of Eighth Grade

This visual profile is calculated from 223 frames available in the WatchTheFrame collection.

Color palette of Eighth Grade

Gray 17.6% · 150 frames Dark orange 15.3% · 150 frames Dark green 14.8% · 127 frames Muted orange 10.5% · 135 frames Dark gray 8.2% · 124 frames Dark red 5.9% · 97 frames Muted red 5.8% · 96 frames Dark teal 4.5% · 75 frames Dark yellow 4% · 82 frames Muted teal 2% · 38 frames Black 1.8% · 37 frames Orange 1.4% · 40 frames Dark blue 1.2% · 22 frames Light gray 1.1% · 40 frames

Lighting and tonal range

Brightness: higher than 81% of films in the collection
DarkBright
Contrast: higher than 57% of films in the collection
LowHigh
  • The analysed frames are brighter than most films in the WatchTheFrame collection.
  • Saturated colors appear frequently in these frames.

Composition and shot characteristics

Wide shot — 87% — 194 frames194Medium shot — 7% — 16 frames16Close-up — 3% — 7 frames7

Explore the visual relationships

A Nightmare on Elm Street Part 2: Freddy's Revenge (1985)
95% color similarity Lucky Number Slevin (2005)
93% color similarity The Founder (2016)
93% color similarity Angst essen Seele auf (1974)
93% color similarity The Fighter (2010)
91% color similarity Before Midnight (2013)
91% color similarity Kak menya zovut (2014)
91% color similarity Lahn Mah (2024)
90% color similarity The King of Staten Island (2020)
90% color similarity The Kings of Summer (2013)
89% color similarity Forgetting Sarah Marshall (2008)
89% color similarity Es ist nicht leicht, ein Gott zu sein (1989)
89% color similarity Sin nombre (2009)
88% color similarity 21 Jump Street (2012)
88% color similarity Happy Gilmore (1996)
86% color similarity

Visual tags in Eighth Grade

swimwear goggles whiteboard backpack swimming pool tap shorts refrigerator countertop sink umbrella cabinetry human head drinking straw phone bus human mouth people human eye kitchen houseplant water house flower

Films with a similar visual profile

A Nightmare on Elm Street Part 2: Freddy's Revenge (1985)
95% match · 391 frames
Angst essen Seele auf (1974)
94% match · 176 frames
The Fighter (2010)
94% match · 196 frames
Kak menya zovut (2014)
93% match · 363 frames
Lucky Number Slevin (2005)
93% match · 468 frames
Sin nombre (2009)
92% match · 727 frames
The King of Staten Island (2020)
92% match · 495 frames
21 Jump Street (2012)
92% match · 559 frames
Forgetting Sarah Marshall (2008)
92% match · 610 frames
Before Midnight (2013)
92% match · 226 frames
The Founder (2016)
92% match · 515 frames
Happy Gilmore (1996)
91% match · 618 frames

About this collection

Metrics on this page are calculated from 223 frames available for Eighth Grade in the WatchTheFrame collection. They describe the analysed frames, not the film as a whole.