Once I had completed filming in the second Big Mead setting, it wasn't that far to walk to get to the first location which would be the setting for the scene preceding it.
The screenshot above displays the timeline where my new shots will be positioned, after the car park scene and before the second Big Mead scene. Adding the shots into the correct place narratively will help with the continuity of the story and make it an easier process when I continue editing it.
For a sequence which will probably be relatively short once edited, I managed to film 57 takes and as a result my total running time has now reached 16 minutes.
I'd immediately managed to reduce this time by 4 minutes by cutting out unnecessary footage and badly recorded shots.
This is the angle that I had noticed when on my location scouting. The height provides a good high angle shot that offers an engaging deviation from the grounded shots in my short film. Because I lack equipment like a jib or a crane, I can only film high angle shots when the location gives me the opportunity to, so I made sure that I used this vantage point to capture the Father entering this scene. I also love the lighting contrast where he exits the light and enters the darkness, because this perfectly alludes to the increasing threat and pace that this sequence will build. Without the height I don't think that the lighting contrast would have been as defined on the ground.
Shots 26 and 29 of my storyboard are dutch angle shots, framed to disorientate the viewer and slightly distort the image. In my planning stage I thought that the canted angle could reflect Dylan's mental state, slightly twisted and not thinking clearly. I think that this perfectly transitioned on screen, with the shots adding a new dynamic to the narrative as the pace starts to change.
The reason I am comparing these two shots is because I think that this is an adequate point to make when considering my poster later on. The second pose is too heroic and idolised, making the protagonist appear strong and commanding, whilst the first pose gives Dylan a sense of uncertainty and insecurity. When I start to take photos for my poster, I don't want to capture Dylan in a way that connotes authority and heroism, and this is why I am not going to use the second shot here in my narrative. Dylan needs to look confused and conflicted rather than fearless.
I couldn't decide which angle would be best to capture Dylan's emotional instability, and so I am thinking that I could edit a few of the shots together to emphasise his struggle. I filmed from a range of heights and positions to make sure that I had enough material to sort through, since this is a very important moment in my narrative where Dylan cannot bring himself to kill the Father.
Once I had finished shooting at the Big Mead and edited these shots into my narrative, the running time was 10 minutes and 35 seconds long. As expected there were very few civilians out walking, and when we did come across other people I made sure that the camera equipment was moved aside and not facing them, so that they weren't suspicious of being on camera. Thankfully everyone who passed us was either welcoming or intrigued by what we were doing, making the whole process a much safer and enjoyable experience. After shooting all day, I can safely say that this scene was the one I am most proud of, because I think that it best corresponds with my storyboard but also the lighting breaking through the trees is evocative and immersive, providing a poetic change in tone from suspenseful to dramatic.
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