In our production, we wanted to use the codes and conventions of our genre: a thriller, including tension, drama and suspense. We therefore wanted to use mise-en-scene to create an atmosphere that invoked tension. To do this, we decided to shoot some scenes in the woods of Sarah, our protagonist, doing photography - unaware of the stalker capturing pictures of her. We chose the woods for the shadows created by the light shining through tree branches and leaves, so we could use visual codes to infer the sinister vibe.
We planned a filming session for Friday the 23rd of March.
Initially, we walked around to look for different shadows and potential shots we could use. We were looking for shadows to create a foreboding feel, for the moment Sarah receives a photo taken of her by the stalker. This is a pivotal point in our production, as it makes the threat much more real now that Sarah is aware.
Photoshoot:
In order to send a photograph via iMessage to Jess's (Sarah's) phone, we had to first work out the best photo to send. We walked around the Belvedere woods and played around with different angled shots from through bushes and behind trees. We focused on a canted angle, to add to the feeling of unease.
Walking around the woods, we encountered a problem that was the intensity of the shadows, making it hard to distinguish Jess's face in detail - which we wanted to do as it is more ominous if the stalker can see everything. To avoid this issue, we then moved into a more open area, with less tree cover but sufficient bushes to hide behind, keeping with the sense of realism. We took multiple shots, before working out which one we wanted to use. In the end we went for a zoomed in mid-shot , allowing us to see her action (taking a photo) as well as a side angle of her face. This meant that when Sarah received the text, the audience can clearly see the picture.
Filming:
To film Sarah receiving the image, we used the camera to record an over the shoulder shot of her iPhone receiving the text and clicking on the image. However, we soon realised this did not work due to the sunlight reflection on the screen. To solve this we then refined the angle to a birds-eye-view, blocking out the sun with the camera so that the shot was clear. We actually found this shot to be more successful than the one we had originally planned, as we had not used it previously.
To film Sarah receiving the image, we used the camera to record an over the shoulder shot of her iPhone receiving the text and clicking on the image. However, we soon realised this did not work due to the sunlight reflection on the screen. To solve this we then refined the angle to a birds-eye-view, blocking out the sun with the camera so that the shot was clear. We actually found this shot to be more successful than the one we had originally planned, as we had not used it previously.
Excellent work. A reflective post that analyses your process and the decisions behind your filming choices, in particular, your settings such as the woods, and your framing, such as the angles in the CUs. You show good understanding of how camerawork and mise-en-scene create meanings, with the connotations of the woods with the shadows. You explain how you tackled challenges in lighting.
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