Kill Bill: Vol. 2 cinematography — film frames and visual analysis

2004 · 425 frames · Directed by Quentin Tarantino

Explore 425 frames from Kill Bill: Vol. 2 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.

425 frames 1.78:1 Mostly wide shots
Analyze a random frame Go to visual profile
Wide shot frame from Kill Bill: Vol. 2 — standing, room, table
Open Analyze Find similar
Wide shot · Medium brightness · Dark orange
Frame from Kill Bill: Vol. 2 — standing, suit, dress
Open Analyze Find similar
Medium brightness · Black
Wide shot frame from Kill Bill: Vol. 2 — walking, hat, hand
Open Analyze Find similar
Wide shot · Medium brightness · Dark gray
Wide shot frame from Kill Bill: Vol. 2 — bag, snake
Open Analyze Find similar
Wide shot · Medium brightness · Black
Wide shot frame from Kill Bill: Vol. 2 — walking, room, beard
Open Analyze Find similar
Wide shot · Low brightness · Dark blue
Wide shot frame from Kill Bill: Vol. 2 — walking, hair, bird
Open Analyze Find similar
Wide shot · Low brightness · Dark green
Wide shot frame from Kill Bill: Vol. 2 — hand, face, hair
Open Analyze Find similar
Wide shot · Medium brightness · Black
Wide shot frame from Kill Bill: Vol. 2 — desk, room, house
Open Analyze Find similar
Wide shot · Medium brightness · Dark orange
Wide shot frame from Kill Bill: Vol. 2 — standing, room, hand
Open Analyze Find similar
Wide shot · Medium brightness · Dark yellow
Wide shot frame from Kill Bill: Vol. 2 — standing, door, face
Open Analyze Find similar
Wide shot · Medium brightness · Dark orange
Wide shot frame from Kill Bill: Vol. 2 — standing, dialogue, hand
Open Analyze Find similar
Wide shot · Medium brightness · Dark blue
Wide shot frame from Kill Bill: Vol. 2 — sitting, suit, tie
Open Analyze Find similar
Wide shot · Medium brightness · Gray
Wide shot frame from Kill Bill: Vol. 2 — standing, dress, beard
Open Analyze Find similar
Wide shot · Medium brightness · Black
Wide shot frame from Kill Bill: Vol. 2 — standing, face, hair
Open Analyze Find similar
Wide shot · High brightness · Dark gray
Wide shot frame from Kill Bill: Vol. 2 — standing, hat, gun
Open Analyze Find similar
Wide shot · High brightness · Light green
Wide shot frame from Kill Bill: Vol. 2 — standing, car, person
Open Analyze Find similar
Wide shot · High brightness · Muted orange
Wide shot frame from Kill Bill: Vol. 2 — sitting, car, face
Open Analyze Find similar
Wide shot · Low brightness · Black
Wide shot frame from Kill Bill: Vol. 2 — bathroom, toilet, person
Open Analyze Find similar
Wide shot · Medium brightness · Dark yellow
Wide shot frame from Kill Bill: Vol. 2 — hand, face, person
Open Analyze Find similar
Wide shot · Low brightness · Dark blue
Wide shot frame from Kill Bill: Vol. 2 — kitchen, food, shirt
Open Analyze Find similar
Wide shot · Medium brightness · Dark gray

Visual profile of Kill Bill: Vol. 2

This visual profile is calculated from 425 frames available in the WatchTheFrame collection.

Color palette of Kill Bill: Vol. 2

Dark orange 23.2% · 265 frames Gray 10.5% · 251 frames Dark gray 9.8% · 227 frames Dark green 7.6% · 117 frames Black 6.9% · 139 frames Muted orange 5.8% · 211 frames Dark red 4.3% · 103 frames Dark yellow 4.2% · 128 frames Dark blue 4.1% · 92 frames Orange 3.9% · 133 frames Light gray 3.3% · 148 frames Light green 2.8% · 139 frames Muted yellow 2.3% · 82 frames Dark teal 2.1% · 52 frames

Lighting and tonal range

Brightness: higher than 79% of films in the collection
DarkBright
Contrast: higher than 100% 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.
  • These frames contain a relatively high share of high-contrast images.

Composition and shot characteristics

Wide shot — 81% — 346 frames346Medium shot — 3% — 12 frames12Close-up — 2% — 7 frames7

Explore the visual relationships

Jack the Giant Slayer (2013)
95% color similarity Unforgiven (1992)
95% color similarity Butch Cassidy and the Sundance Kid (1969)
95% color similarity The Fault in Our Stars (2014)
94% color similarity Sin nombre (2009)
93% color similarity Kak menya zovut (2014)
93% color similarity Lethal Weapon (1987)
93% color similarity 21 Jump Street (2012)
92% color similarity Men in Black International (2019)
91% color similarity Lucky Number Slevin (2005)
90% color similarity The Last Emperor (1987)
90% color similarity 12 Years a Slave (2013)
89% color similarity Anchorman: The Legend of Ron Burgundy (2004)
89% color similarity Meet Joe Black (1998)
87% color similarity You've Got Mail (1998)
87% color similarity

Visual palette across 3 films directed by Quentin Tarantino

2009 · Inglourious Basterds
2015 · The Hateful Eight

Based on 3 films in the collection, these colors appear most frequently in frames from films directed by Quentin Tarantino.

Films directed by Quentin Tarantino

Inglourious Basterds
372 frames
The Hateful Eight
404 frames
Explore Quentin Tarantino visual profile

Visual tags in Kill Bill: Vol. 2

sword toilet snake bowl bathroom countertop knife fight drawer kitchen cabinetry billiard table trousers beard statue sculpture human mouth bottle studio couch bag umbrella drinking straw hair restaurant house

Films with a similar visual profile

Jack the Giant Slayer (2013)
95% match · 785 frames
21 Jump Street (2012)
93% match · 559 frames
Unforgiven (1992)
93% match · 556 frames
Meet Joe Black (1998)
93% match · 352 frames
Men in Black International (2019)
93% match · 621 frames
Sin nombre (2009)
93% match · 727 frames
The Fault in Our Stars (2014)
92% match · 592 frames
Kak menya zovut (2014)
92% match · 363 frames
Lethal Weapon (1987)
92% match · 766 frames
You've Got Mail (1998)
92% match · 477 frames
Butch Cassidy and the Sundance Kid (1969)
92% match · 394 frames
Lucky Number Slevin (2005)
92% match · 468 frames

About this collection

Metrics on this page are calculated from 425 frames available for Kill Bill: Vol. 2 in the WatchTheFrame collection. They describe the analysed frames, not the film as a whole.