Camerawork & Compostion

To get a feeling for experimenting with shots, I took first hand photos and explained the theory and technique behind them..

Establishing shot

This establishing shot conveys tone and genre through setting, bright lighting gives it a light-hearted atmosphere, the surrounding bushes give the feeling of privacy and mystery. Additionally the bright green colors feeling calming, relaxing and whimsical.

Long Shot

The long shot allows the viewer to read the character in relation to their surroundings. The path guides the viewer's eyes and the character's leisurely pose matches the serene background.

Close-up

The emphasis of a closeup indicates the focus of the moment which in this image would be the hesistant step into the water.

Extreme Close-up

The extreme close-up provides even more emphasis, giving importance to a small moment, indicate of what the character is focusing on.

Midshot

The midshot establishes the charcter's pose and expression. In this shot specifically, this emphasises the purity and innocence of the character, portraying her are nurturing and kind.

Point of view shot

The POV shot allows the viewer to see through the eyes of the charcter and relate to their thoughts and feelings.

Two-shot

A two shot focuses on two characters. The symmetry creates tension.

Over the shoulder

The over the shoulder makes the audience feel like they are included in the action, creating interest.

Aerial shot

The aerial shot allows the viewer to see the focus in relation to their surroundings.

Low angle

Low angles creates a sense of confidence, power and control.

High Angle

High angles creates a sense of isolation and vulnerability.

Dutch angle

Dutch angles creates a sense of confusion as it distorts the visual for the audience which makes them feel uneasy.

Editing

This is a paragraph where you can add any information you want to share with website visitors. Click here to edit the text, change the font and make it your own.

Straight Cut

Starts from one shot and changes to another quickly.

Cut On Action

When the cut happens during the action, used to create the impression that the action is continuous across multiple shots.

Crosscutting

Two narrative strand happening at the same time, can be used for phone conversations, cutting between each person on the line.

Match Cut

Smash Cut

A cut from one shot to a similar shot by matching the compostion or movement.

Abrupt cut transition, used in intense changes like someone waking up from a nightmare.

Invisible Cut

A cut made to feel like there isn't a cut using the motion of the camera or by obscuring the camera.

My production

Camera Angles & shots

Establishing shot - The character is put in the context of their room, which is a little messy but lived in, giving the impression of a character not prepared for an attack.

Dutch angle - Whilst the character is on the stairs, the camera tilts slightly, making the audience feel more disoriented and confused to indicate the suspicion and uncertainty the charcter is feeling.

Cuts and transitions

Match cut - I included the shot of the phone twice to indicate a change in setting.

Fade in/fade out -

Panning up -

Invisible cut - When the lights turn off, the transition between the door and the walking is almost unnoticeable, creating a smooth transition whilst making the killer seem more elusive.

Sound

Diegetic sound:

Motif - The phone ringing is repeated. throughout the opening, tying together the plot indicating the immenient danger.

Eerie music - The eerie music does a great job of adding suspense and unease.

Silence - Once the door shuts the eerie music is suddenly cut.

Shower running - Implies that the charcter is showering and fills the silence, making the scene feel less tense and more leisurely, which is what the character is feeling.

Door creak - The jarring high-pitched sound evokes discomfort within the audience.

Loud footsteps - the crunchy texture of the sound makes it feel like the killer is large and forboding. The heavy sound is more akin to the sound boots would make, indicating how much more prepared the killer is than the victim.

Stab - The stabbing effect is loud and sudden, as a narrative device it implies the killing of the character.

Mise en scene

Through the establishing shot, the phone being bright and the only thing on the bed calls attention to it, signifying it's importance.

At the very end, the killer looks at the camera, giving the feeling that the killer is self-aware, this makes the audience feel uncomfortable as the killer is obviously dangerous and we don't want them to know about us.

Challenges

Firstly, in some shots I accidentally filmed vertically. This created obvious contingency errors that made the film feel more amateur. Secondly, the starting scene felt a bit empty without music and didn't convey the peace I intended it to.

Additionally, most of my cuts were far too long, usually the shots should change every three seconds, with the exception of building tension where it can be around five seconds. This also gave me a lot less time to include more shots which could've contained far more techniques and types of shots.

To improve next time

Next time I'll try to cut scenes much shorter to make better use of the time alotted. I will also focus so that I don't accidently shoot vertically again and the camera will be less shaky once I'm given a proper tripod and I will try to get a better quality camera. On top of that, I could also shorten down the narrative to give more focus on how the character is moving around.

If I were to remake this video specifically, I might add more outside perspectives of the character throughout the video to give the impression that they are being watched, giving myself more interesting shots whilst adding to the narrative, for example adding a shot through the window where the blinds could give the impression that the charcter is trapped.