Ju-on cinematography — film frames and visual analysis

2002 · 230 frames · Directed by Takashi Shimizu

Explore 230 frames from Ju-on 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.

230 frames 1.85:1 Mostly wide shots
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Medium shot frame from Ju-on — sitting, room, table
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Medium shot · Low brightness · Dark pink
Medium shot frame from Ju-on — standing, shirt, face
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Medium shot · Low brightness · Dark gray
Medium shot frame from Ju-on — standing, hand, shirt
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Medium shot · Medium brightness · Dark gray
Medium shot frame from Ju-on — standing, door, hair
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Medium shot · Low brightness · Dark blue
Medium shot frame from Ju-on — standing, room, shirt
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Medium shot · Low brightness · Dark gray
Medium shot frame from Ju-on — face, hair, person
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Medium shot · Medium brightness · Gray
Medium shot frame from Ju-on — hand, shirt, hair
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Medium shot · Medium brightness · Gray
Medium shot frame from Ju-on — sitting, standing, room
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Medium shot · Medium brightness · Dark gray
Medium shot frame from Ju-on — room, face, hair
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Medium shot · Medium brightness · Gray
Medium shot frame from Ju-on — sitting, room, table
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Medium shot · Medium brightness · Dark gray
Medium shot frame from Ju-on — book, newspaper, window
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Medium shot · Low brightness · Dark orange
Medium shot frame from Ju-on — sitting, shirt, face
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Medium shot · Medium brightness · Dark gray

Visual profile of Ju-on

This visual profile is calculated from 230 frames available in the WatchTheFrame collection.

Color palette of Ju-on

Dark gray 38.5% · 223 frames Gray 20.5% · 209 frames Dark blue 10.1% · 114 frames Dark orange 8.5% · 107 frames Dark yellow 6.9% · 95 frames Dark green 5% · 40 frames Black 4.9% · 101 frames Muted blue 1.4% · 14 frames Dark teal 1% · 12 frames Dark red 0.9% · 26 frames Dark purple 0.9% · 19 frames Muted yellow 0.6% · 21 frames Dark pink 0.5% · 12 frames Muted green 0.3% · 15 frames

Lighting and tonal range

Brightness: lower than 60% of films in the collection
DarkBright
Contrast: lower than 87% of films in the collection
LowHigh
  • These frames contain a relatively high share of low-contrast images.

Composition and shot characteristics

Wide shot — 88% — 203 frames203Medium shot — 5% — 12 frames12Close-up — 1% — 2 frames2

Explore the visual relationships

Twelve Monkeys (1995)
99% color similarity Black Panther (2018)
98% color similarity The Wolf of Wall Street (2013)
98% color similarity Iron Man (2008)
97% color similarity Keeping Up with the Joneses (2016)
97% color similarity First Reformed (2017)
97% color similarity The Bourne Identity (2002)
97% color similarity The King's Man (2021)
96% color similarity Malcolm (1992)
96% color similarity Daddy's Home 2 (2017)
96% color similarity West Side Story (2021)
95% color similarity Mortal Engines (2018)
95% color similarity Dungeons & Dragons: Honor Among Thieves (2023)
95% color similarity Dogman (2023)
95% color similarity Teenage Mutant Ninja Turtles: Out of the Shadows (2016)
94% color similarity

Visual tags in Ju-on

miniskirt scarf handbag flowerpot door handle curtain drawer bedroom human eye human head studio couch houseplant television bed door bag human nose newspaper poster mirror cabinetry house office phone

Films with a similar visual profile

Twelve Monkeys (1995)
98% match · 429 frames
Black Panther (2018)
98% match · 765 frames
Keeping Up with the Joneses (2016)
98% match · 414 frames
Daddy's Home 2 (2017)
97% match · 589 frames
The Wolf of Wall Street (2013)
97% match · 894 frames
Iron Man (2008)
96% match · 847 frames
The King's Man (2021)
96% match · 638 frames
First Reformed (2017)
96% match · 163 frames
Dungeons & Dragons: Honor Among Thieves (2023)
96% match · 678 frames
Malcolm (1992)
96% match · 668 frames
Teenage Mutant Ninja Turtles: Out of the Shadows (2016)
96% match · 754 frames
Dogman (2023)
96% match · 488 frames

About this collection

Metrics on this page are calculated from 230 frames available for Ju-on in the WatchTheFrame collection. They describe the analysed frames, not the film as a whole.