Knowing I had two scenes to film at the Big Mead, I opted to finish off the sequence I had already started and continue from where I'd left off. Thankfully the weather was the same as when I'd shot here on my first day, so the continuity wouldn't be disrupted by the colour differences in the sky. I had rewatched the footage from previously so that I knew exactly where on the path I needed to position the characters to start filming from. This is where I was standing in the last shot on the timeline and so it was the point from where I started shooting this time. 
The initial bulk of new footage extended my short film to a duration of 11 minutes 37 seconds.
Trimming the beginning and end of each shot cut my length down to 9 minutes and 47 seconds.
This is the depth of field shot that I had planned in Shot 55 of my storyboard, where the Father turns back suspiciously. Although I didn't frame the shot as closely as I had originally intended, I think that I have still captured an engaging two shot with the characters at different depths in the frame.
This is supposed to represent the POV of the Father as he turns to look back, expecting to see someone when in fact there is no-one in sight. I think that this will be visually appealing once edited together because audiences will expect to see Dylan standing there, and so this sudden disappearance adds to the elusive and tense atmosphere established by the two characters.
The camera then cuts to higher up the path and pans left to reveal Dylan hidden behind a tree, concealed from the Father and Son. I think that these are important shots to maintain some of the suspense which has diffused once Dylan holsters his gun in the earlier scenes. The anticipation here is arising from whether the two characters will interact and so when Dylan is almost spotted this contributes to the ongoing expectation that they will cross paths at some point in the narrative.
These two shots were very important to me and reflect Shot 60 and Shot 61 from my storyboard. They are not landscape shots, but they are tilt shots when the characters exit the Big Mead, tilting up towards the sky. It is noticeable that the skies in the two shots are varying shades of brightness, and the first screenshot is from the shot with the Father and Son, with the light blue reflecting the calm and positive emotional states of their relationship. The second is a more sombre sky, captured from Dylan's shot and reflecting his confusion. These images have not been manipulated whatsoever which is why I wanted to mention them, because the natural presence of the forest helped to conceal some of the light when filming Dylan and consequently blocked the sun from making the shot appear too colourful. So the weather and the natural setting worked to my advantage and created a very visual juxtaposition of the characters.
Having sorted through the individual takes, my narrative now has a running time of 7 minutes 31 seconds. This was a very efficient scene to film since I had a clear idea of what had come before it and so it was a case of learning from the mistakes of day 1 and approaching the task with a more informed perspective. today.
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