Re-Filming
Our second attempt at filming was much more successful than our first; we only encountered one problem. The battery died towards the end of the filming, but after a quick 10 minute charge we could finish the job – it’s a good job we decided to cut the chase out otherwise we would have been stranded without any battery in the camera. We encountered no problems like before as we made sure the camera was compatible with the tripod before leaving school with them, we were filming during the day which meant the light was sufficient and also we had our one location (my house) confirmed unlike our previous location, the old house, which we decided was unsafe to use upon reaching it.
To save time, we made sure everything was in place before we began filming (e.g. the objects around Sophie’s room, the note on the fridge, the hanging shirt). Like last time, we filmed the shots chronologically to ensure that there was no vital footage missing which would damage our awareness of the match on action rule and to make the files easier to manage when it came to the editing process.
The first shot we filmed started with an alarm clock which starts beeping as it turns to 7.00am. This image then panned to the left and we see Jack sit up in bed. The lengthy shot alongside the slow music emphasises the slow morning and the lazy atmosphere, and allows the viewer time to observe and take this all in. This shot also sets up the contrast for when Jack becomes alert and panicked as he realises his daughter is missing, as everything is so relaxed at this point.
In our next shot we wanted Jack to appear vulnerable. This is made possible with a high angle shot. We had difficulty enabling this shot as firstly the tripod did not stand as high as we would have liked the camera, yet lifting it higher meant the camera was not still, it looked ‘handheld’ which is not the effect we would have liked. By carefully placing the tripod on a cabinet in the corner of the room, our problem was solved, but we had to take care setting it up to ensure that it would not fall over.
We also are persistent on including visually stimulating shots. To show this we placed the camera on the floor to show a close up of Jack’s first footsteps as he climbs out of bed in the morning. This is much more effective than a mid-short of him getting out of bed as it keeps the viewer drawn in to the shots and it aesthetically pleasing.
Whilst sticking to the 180 degree rule, we then filmed a mid-shot of Jack walking to the window and then leaving the room, followed by a long shot of him walking down the dark hallway. The contrast from light to dark is visually pleasant as Jack appears to be a silhouette. A small problem we encountered at this point was when Jack walked out during the first take of this shot he had his hands in his pockets. Before he left the room he had his hands by his sides, so we had to film another take of this shot with his hands by his side to ensure that maintaining professional match on action standards between consecutive shots is easy during the editing stage.
As Jack walks through the house after he gets down the stairs, we want to create the effect that perhaps somebody is in the house watching him without giving too much away, as the antagonist is not yet the main focus. In an attempt of this we filmed a handheld, point of view shot from the antagonist perhaps hiding behind a door panning and watching Jack as he walks past. We’re unsure at the moment of how effective this will be so we will decide whether to include it at the editing stage, but at least we have the material to work with should we decide it is effective.
Next comes my favourite shot of the sequence. Jack goes to the fridge and as the door opens the camera switches to an internal shot from the fridge; a mid shot looking out at Jack rummaging around looking for breakfast. We agreed to use this shot even before we knew what our storyline would be because it is just so visually creative, it’s original.
Then we see the note “I HAVE YOUR DAUGHTER” from an over the shoulder shot of Jack, so we can see just as he sees. From this shot Jack then runs upstairs to check Sophie’s bedroom.
As he gets to the top of the stairs we filmed a handheld point of view shot of Jack running into Sophie’s room. The creates an attachment between the viewer and Jack’s character, as the viewer is able to empathise with him as they understand his panic and heartbreak. This is also emphasised through the over the shoulder shot of Jack making an emergency call on his phone.
We then filmed a mid-shot of Jack pacing between Sophie’s room and the bathroom as he calls the police. Pacing highlights restlessness and worry, which is just how anybody in Jack’s position would be feeling.
The whole filming process has gone so much more smoothly the second time round so hopefully the outcome will be greater, we just have to edit all of the shots together now.
natalie robinson 