14 November 2014
Casting
When I was writing the script, the only thing I really knew I definitely wanted in my characters was that they did not follow classic stereotypes. I tried not to make my female character a helpless victim, rather there are some stronger aspects to her. I also did not want the stereotypical camp homosexual characters. I did not, however, have any specific physical ideas for my characters. I purposefully left this completely open. I feel, however, the actors that were chosen well represent the characters they are respectively portraying.
For my film, I knew I needed three people who were particularly strong actors.
For this I found some people I felt were good for the role and got them to read through a scene of the script, being the strongest, most important one for their characters. This first video shows the roles of Sarah and Deluca as the actor for Hugo was not available at this time:
The final cast list for my film is:
Edward Stevenson/Peter Deluca- Travis Brown
Sarah Fitzwarin- Rose Harris
Hugo- Ryan Hearn
Our original actor for Hugo was another person, called Callum Starr. Unfortunately he was not able to shot due to an injury he received from sport. Because of this, we had a last minute change to Ryan Hearn.
For my film, I knew I needed three people who were particularly strong actors.
For this I found some people I felt were good for the role and got them to read through a scene of the script, being the strongest, most important one for their characters. This first video shows the roles of Sarah and Deluca as the actor for Hugo was not available at this time:
The final cast list for my film is:
Edward Stevenson/Peter Deluca- Travis Brown
Sarah Fitzwarin- Rose Harris
Hugo- Ryan Hearn
Our original actor for Hugo was another person, called Callum Starr. Unfortunately he was not able to shot due to an injury he received from sport. Because of this, we had a last minute change to Ryan Hearn.
22 October 2014
Camera Tests
Before going onto start the filming we first did some tests with the camera. The first one we did was looking at how Aperture and ISO effects the light in the film.
Aperture:
ISO:
Representation
This video shows a comparison of scenes in which females are being victimised, being shown as helpless, screaming victims.
This video shows the conventions of the horror movie, whilst my own movie is not technically a horror, it is a psychological thriller that follows many of the same conventions. The video also shows how the genre follows Mulvey's theory of the male gaze in which many of these are being sexualised as well as being victimised. In my film it opens with a woman being victimised, though it also shows males being victimised at the same time, challenging such conventions. My film, also, does not really sexualise any characters, and particularly not the female character, Sarah. Although as said by Edwards, 1997, says that "the sexual objectification of men has increased in the media" This does not directly follow what is being shown in my films as none of the characters are particularly being sexualised or objectified, and my film is not, primarily, targeted towards women and homosexual men and so this is not really a requirement. Hugo being victimised by his murder, and Edward/Peter arguably becoming victimised by his weak mental state and Hugo's use of him.
Whilst my film does also include homosexual characters, it does not really follow any of the 'queer' theories. None of my characters are being portrayed as 'screaming queens' as talked of by Medhurst, 1998.
Whilst my film does also include homosexual characters, it does not really follow any of the 'queer' theories. None of my characters are being portrayed as 'screaming queens' as talked of by Medhurst, 1998.
15 October 2014
Shot and Lighting Research
Before I can actually begin filming, and before I had written up the shot list and storyboard, I had to do some research into the different sorts of shots that are used in my genre of film. Before beginning filming, I also need to research the sorts of lighting used.
I first looked at camera angles and setups in filmmaking in general, at first not restricting myself to any particular genre. In Shot by Shot, by Steven D. Katz (1991) the range of shots used are discussed, as well as why, in general, they are used. He first describes the use of Close ups:
"The close up can bring us into a more intimate relationship with the subjects on the screen"
"Not only can the close-up reveal the intimate, it can make us feel as if we are intruding on moments of privacy or sharing a moment of vulnerability- as if the person on screen has opened himself up to us."
This is something I feel may be very important for my film, particularly as it is restricted to only five minutes. Because of having such a short run time, even with only a couple of characters, I will not be able to add lots of explicit characterisation and character development. This is where close-ups will become important, showing the the subtleties of the character, particularly if we get strong actors.
Katz also describes what he calls 'The Medium Shot';
"The medium shot captures and actor's gestures and body language, but is still tight enough to include subtle variations in facial expression." It is "combining valuable qualities of the full shot and the close-up".
This is a shot that I feel will often be used to bridge between a long shot, or a 'full shot', and the close-ups, and also to break up the close-ups where needed and help to lead into other shots. This follows what Alexander Mackendrick has said, (On Film-making 2004) "each angle should be significantly different in a way that adds or subtracts to the pictorial narrative." However, this should all only be done when there is a reason. A cut should only be done when required , it "should have a purpose , that it follows the momentum of the viewer's interest, that each shift of angle is motivated by the audience's desire to see something that has been promised to them." This is something that I will try and follow when shooting the film and putting together the shot list and storyboard.
Katz then goes on to talk about 'The Full Shot';
"One of the full shot's most attractive qualities is that it allows the actor to use body language. This type of physical expression has all but disappeared from the movies since the silent period."
My film does not often require the much use of body language. This is because a lot of the film is dialogue and subtle emotion. I think I will try an incorporate a couple 'full shots' in order to show the power of murder. However, it is likely that my film will mostly consist of close-ups and medium shots.
In my genre of film, shots are the same as commonly used, however they are all used for specific reasons.
Quite often in this genre, close up as used to show emotion, often fear or anger, or some other related emotion often experienced in this genre. One example is this shot from Silence of the Lambs:
Close ups, of all kinds (MCU, ECU and CU) are possibly some of the most common shot types in a psychological thriller, because of this portrayal of, quite often, intense fear or anger, a common theme found in psychological thrillers, which can often be closely related to the horror genre.
Often large establishing shots are also used, often when there is few or even one location. This is often a dark shot not only setting up the location, but also the atmosphere. This example is from the film Shutter Island:
Although not a shot, a technique that can often be found in psychological thrillers, which could be classed more of as a movement, is the use of the long take, a continuous take that can often last for a few minutes. This can be used to create tension and fear, something that is often quite important to the themes and atmosphere of the films.
I first looked at camera angles and setups in filmmaking in general, at first not restricting myself to any particular genre. In Shot by Shot, by Steven D. Katz (1991) the range of shots used are discussed, as well as why, in general, they are used. He first describes the use of Close ups:
"The close up can bring us into a more intimate relationship with the subjects on the screen"
"Not only can the close-up reveal the intimate, it can make us feel as if we are intruding on moments of privacy or sharing a moment of vulnerability- as if the person on screen has opened himself up to us."
This is something I feel may be very important for my film, particularly as it is restricted to only five minutes. Because of having such a short run time, even with only a couple of characters, I will not be able to add lots of explicit characterisation and character development. This is where close-ups will become important, showing the the subtleties of the character, particularly if we get strong actors.
Katz also describes what he calls 'The Medium Shot';
"The medium shot captures and actor's gestures and body language, but is still tight enough to include subtle variations in facial expression." It is "combining valuable qualities of the full shot and the close-up".
This is a shot that I feel will often be used to bridge between a long shot, or a 'full shot', and the close-ups, and also to break up the close-ups where needed and help to lead into other shots. This follows what Alexander Mackendrick has said, (On Film-making 2004) "each angle should be significantly different in a way that adds or subtracts to the pictorial narrative." However, this should all only be done when there is a reason. A cut should only be done when required , it "should have a purpose , that it follows the momentum of the viewer's interest, that each shift of angle is motivated by the audience's desire to see something that has been promised to them." This is something that I will try and follow when shooting the film and putting together the shot list and storyboard.
Katz then goes on to talk about 'The Full Shot';
"One of the full shot's most attractive qualities is that it allows the actor to use body language. This type of physical expression has all but disappeared from the movies since the silent period."
My film does not often require the much use of body language. This is because a lot of the film is dialogue and subtle emotion. I think I will try an incorporate a couple 'full shots' in order to show the power of murder. However, it is likely that my film will mostly consist of close-ups and medium shots.
In my genre of film, shots are the same as commonly used, however they are all used for specific reasons.
Quite often in this genre, close up as used to show emotion, often fear or anger, or some other related emotion often experienced in this genre. One example is this shot from Silence of the Lambs:
Close ups, of all kinds (MCU, ECU and CU) are possibly some of the most common shot types in a psychological thriller, because of this portrayal of, quite often, intense fear or anger, a common theme found in psychological thrillers, which can often be closely related to the horror genre.
Often large establishing shots are also used, often when there is few or even one location. This is often a dark shot not only setting up the location, but also the atmosphere. This example is from the film Shutter Island:
Although not a shot, a technique that can often be found in psychological thrillers, which could be classed more of as a movement, is the use of the long take, a continuous take that can often last for a few minutes. This can be used to create tension and fear, something that is often quite important to the themes and atmosphere of the films.
6 October 2014
Storyboard
As Steven D. Katz states in Shot by Shot (1991) "Storyboards serve two purposes: First, they allow a filmmaker to pre-visualize his ideas and refine them in the same way a writer develops ideas through successive drafts; secondly, they serve as the clearest language to communicate ideas to the entire production team. ... Even small, dramatic films can benefit from storyboards, helping the director to refine mood and dialogue."
This is the storyboard for Deluca. A Storyboard is something designed to show the plans for the flow and look of each shot in the film. Whilst they do not need to be perfectly drawn, they do need to be able to show the flow of the film. This is something I feel that I have achieved, particularly in consideration to what Katz had said.
Next to this is a video. I put together the opening of the film as a video to get a feel of it's movement, length and how it would fit with the music that I desired, and what effect it would give.
Later into production, another person produced a storyboard, which is much closer to the final film:
This is the storyboard for Deluca. A Storyboard is something designed to show the plans for the flow and look of each shot in the film. Whilst they do not need to be perfectly drawn, they do need to be able to show the flow of the film. This is something I feel that I have achieved, particularly in consideration to what Katz had said.
Later into production, another person produced a storyboard, which is much closer to the final film:
Shot List
Here is the shot list that I have composed for Deluca. This one has changed a little from the original (below) as I decided to make a few changes in shot type and sequence when creating the storyboard.
First Version
Below is a shot list that I created originally. This was changed when I had some different ideas, simplified some things and also when the script changed, the shot list had to change a little also.
Shot no.
|
Shot
|
Shot Type
|
Angle
|
Movement
|
Notes
|
1
|
1-1
|
WS
|
‘Eye level’
|
Pan
|
Support-
Tripod
WS of street
|
2
|
1-2
|
WS
|
High
|
Still
|
Support-
Tripod
WS of murder
|
3
|
1-3
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
CU on rock
|
4
|
1-4
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
CU on apple
|
5
|
1-5
|
ECU
|
Low
|
‘hand-held’
|
Support-
Monopod
Looking up to Ed’s
face
|
6
|
1-6
|
ECU
|
Low
|
‘hand-held’
|
Support-
Monopod
Looking up to
Cain’s face
|
7
|
1-7
|
WS
|
Low
|
‘hand-held’
|
Support-
Monopod
WS on Cain and Abel
|
8
|
1-8
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
CU on rock
|
9
|
2-1
|
WS
|
High
|
‘hand-held’
|
Support-
Monopod
WS of Sarah’s
murder
|
10
|
2-2
|
CU
|
Low
|
Tilt
|
Support-
Monopod
Cu on phone out of
pocket
|
11
|
2-3
|
CU
|
Low
|
Still
|
Support-
Tripod
Ed talking
|
12
|
2-4
|
OTS
|
High
|
Still
|
Support-
Tripod
Ed looking down at
body then walks away.
|
13
|
2-5
|
WS
|
Eye level
|
Pan
|
Support-
Tripod
Same position as
2-4, pan to see Ed talking on phone
|
14
|
2-6
|
CU
|
High
|
Still
|
Support-
Tripod
CU on Ed on phone
|
15
|
2-7
|
OTS
|
High
|
Still
|
Support-
Tripod
OTS looking at
phone
|
16
|
2-8
|
MS
|
Low
|
Still
|
Support-
Tripod
Ms of Ed, putting
phone in pocket
|
17
|
2-9
|
OTS
|
High
|
‘hand-held’
|
Support-
Monopod
OTS looking at
body. Wide angle
|
18
|
3-1
|
MS
|
Eye level
|
Tilt down
|
Support-
Tripod
Tilt down to reveal
Ed
|
19
|
3-2
|
CU
|
Low
|
Pan
|
Support-
Tripod
Pan to show Hugo
walking
|
20
|
3-3
|
CU
|
Low
|
Still
|
Support-
Tripod
CU on Hugo
|
21
|
3-4
|
OTS
|
High
|
Still
|
Support-
Tripod
OTS of Hugo looking
at Ed
|
22
|
3-5
|
MS
|
Low
|
‘hand-held’
|
Support-
Monopod
Looking up at Hugo
|
23
|
3-6
|
WS
|
Low
|
Still
|
Support-
Tripod
Show both
|
24
|
3-7
|
CU
|
Low
|
Still
|
Support-
Tripod
CU on Ed
|
25
|
3-8
|
OTS
|
High
|
‘hand-held’
|
Support-
Monopod
OTS Ed looking to
Hugo
|
26
|
3-9
|
ECU
|
Low
|
Still
|
Support-
Tripod
ECU on Ed
|
27
|
3-10
|
MS
|
Low
|
‘hand-held’
|
Support-
Tripod
MS of Hugo
|
28
|
3-11
|
MS
|
Low
|
Pan
|
Support-
Tripod
Pan from 3-10 to
look to Ed
|
29
|
3-13
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
CU on Hugo
|
30
|
3-14
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
CU on Ed
|
31
|
3-15
|
OTS
|
High
|
‘hand-held’
|
Support-
Monopod
OTS over Ed to Hugo
|
32
|
4-1
|
WS
|
High
|
Still
|
Support-
Tripod
WS of Ed with body
|
33
|
4-2
|
CU
|
High
|
Still
|
Support-
Tripod
CU on hands
|
34
|
4-3
|
CU
|
High
|
Still
|
Support-
Tripod
CU on Ed
|
35
|
4-4
|
OTS
|
High
|
Still
|
Support-
Tripod
OTS Ed looking to
body
|
36
|
4-5
|
OTS
|
Low
|
Still
|
Support-
Tripod
OTS Ed looking up
to Sarah
|
37
|
4-6
|
MS
|
High
|
Still
|
Support-
Tripod
MS of Ed shuffling
back
|
38
|
4-7
|
MS
|
Eye level
|
Pan
|
Support-
Tripod
Quick pan from Ed
to Sarah
|
39
|
4-8
|
MCU
|
High
|
Still
|
Support-
Tripod
MCU on Ed
|
40
|
4-9
|
WS
|
High
|
Pan
|
Support-
Tripod
Pan from Sarah,
past Ed to where body was
|
41
|
4-10
|
CU
|
High
|
Still
|
Support-
Tripod
CU on Ed
|
42
|
4-11
|
CU
|
Eye level
|
Still
|
Support-
Tripod
Cu on hands
|
43
|
4-12
|
MS
|
Low
|
Pan, track
|
Support-
Tripod
MS of both
|
44
|
5-1
|
WS
|
Low
|
Tilt up
|
Support-
Tripod
WS of house
|
45
|
5-2
|
WS
|
Low
|
Still
|
Support-
Tripod
Same shot as 5-1,
Ed and Sarah walk in.
|
46
|
5-3
|
MS
|
Eye Level
|
Still
|
Support-
Tripod
MS of both
|
47
|
5-4
|
CU
|
Low
|
Still
|
Support-
Tripod
CU on Sarah
|
48
|
6-1
|
MS
|
High
|
‘hand-held’
|
Support-
Monopod
MS of Ed, Ed in
deep right corner of shot, Hugo sits beside
|
49
|
6-2
|
CU
|
High
|
‘hand-held’
|
Support-
Monopod
Cu on Ed
|
50
|
6-3
|
MCU
|
Low
|
‘hand-held’
|
Support-
Monopod
MCU on Hugo
|
51
|
6-4
|
OTS
|
High
|
‘hand-held’
|
Support-
Monopod
OTS Hugo, looking
to Ed
|
52
|
6-5
|
MS
|
Low
|
‘hand-held’
|
Support-
Monopod
MS of Ed grabbing
Hugo
|
53
|
6-6
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
CU on Ed pulling
Hugo up
|
54
|
6-7
|
WS
|
High
|
‘hand-held’
|
Support-
Monopod
WS of Ed throwing
Hugo down
|
55
|
6-8
|
CU
|
High
|
‘hand-held’
|
Support-
Monopod
CU on rock being
picked up
|
56
|
6-9
|
ECU
|
High
|
‘hand-held’
|
Support-
Monopod
ECU on bloody rock
being lifted up after hit
|
57
|
6-10
|
WS
|
High
|
‘hand-held’
|
Support-
Monopod
WS of murder
|
58
|
6-11
|
CU
|
High
|
‘hand-held’
|
Support-
Monopod
CU on Hugo dying,
last hit
|
59
|
6-12
|
WS
|
Eye level
|
Still
|
Support-
Tripod
WS of Ed standing
over body
|
60
|
7-1
|
MS
|
Low
|
Still
|
Support-
Tripod
MS of Cain, drops the
rock
|
61
|
7-2
|
ECU
|
Low
|
Pan-tilt, zoom.
|
Support-
Tripod
ECU on Cain’s eyes,
pan down to apple. Zoom in.
|
62
|
8-1
|
WS
|
Low
|
Still
|
Support-
Tripod
WS of Ed walking
towards house.
|
First Version
Below is a shot list that I created originally. This was changed when I had some different ideas, simplified some things and also when the script changed, the shot list had to change a little also.
Shot no.
|
Shot
|
Shot Type
|
Angle
|
Movement
|
Notes
|
1
|
1-1
|
WS
|
‘Eye level’
|
Pan
|
Support-
Tripod
WS of street
|
2
|
1-2
|
WS
|
High
|
Still
|
Support-
Tripod
WS of murder
|
3
|
1-3
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
CU on rock
|
4
|
1-4
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
CU on apple
|
5
|
1-5
|
ECU
|
Low
|
‘hand-held’
|
Support-
Monopod
Looking up to Ed’s
face
|
6
|
1-6
|
ECU
|
‘Eye level’
|
‘hand-held’
|
Support-
Monopod
Close up on
hand/rock
|
7
|
1-7
|
MS
|
Low
|
‘hand-held’
|
Support-
Monopod
MS on Cain
|
8
|
1-8
|
WS
|
High
|
‘hand-held’
|
Support-
Monopod
WS of Sarah’s murder
|
9
|
2-1
|
MCU
|
Low
|
‘hand-held’
|
Support-
Monopod
Ed standing from
body.
|
10
|
2-2
|
MS
|
Low
|
Tilt
|
Support-
Tripod
Ed takes phone out,
tilt up as he answers
|
11
|
2-3
|
CU
|
Low
|
Still
|
Support-
Tripod
Ed talking
|
12
|
2-4
|
OTS
|
High
|
Still
|
Support-
Tripod
Ed looking down at
body then walks away.
|
13
|
2-5
|
WS
|
Eye level
|
Pan
|
Support-
Tripod
Same position as
2-4, pan to see Ed talking on phone
|
14
|
2-6
|
CU
|
High
|
Still
|
Support-
Tripod
CU on Ed on phone
|
15
|
2-7
|
OTS
|
High
|
Still
|
Support-
Tripod
OTS looking at
phone
|
16
|
2-8
|
CU
|
‘Eye level’
|
Still
|
Support-
Tripod
CU on pocket
|
17
|
2-9
|
OTS
|
High
|
‘hand-held’
|
Support-
Monopod
OTS looking at
body. Wide angle
|
18
|
3-1
|
MS
|
Eye level
|
Tilt down
|
Support-
Tripod
Tilt to reveal Ed
|
19
|
3-2
|
MS
|
Eye level
|
Pan
|
Support-
Tripod
Pan to show Hugo
walking
|
20
|
3-3
|
CU
|
Low
|
Still
|
Support-
Tripod
CU on Hugo
|
21
|
3-4
|
OTS
|
High
|
Still
|
Support-
Tripod
OTS of Hugo looking
at Ed
|
22
|
3-5
|
MS
|
Low
|
‘hand-held’
|
Support-
Monopod
Looking up at Hugo
|
23
|
3-6
|
WS
|
Low
|
Still
|
Support-
Tripod
Show both
|
24
|
3-7
|
CU
|
Low
|
Still
|
Support-
Tripod
CU on Ed
|
25
|
3-8
|
OTS
|
High
|
‘hand-held’
|
Support-
Monopod
OTS Ed looking to
Hugo
|
26
|
3-9
|
CU
|
Low
|
Still
|
Support-
Tripod
Cu on Ed
|
27
|
3-10
|
MS
|
Low
|
‘hand-held’
|
Support-
Tripod
MS of Hugo
|
28
|
3-11
|
MS
|
Low
|
Pan
|
Support-
Tripod
Pan from 3-10 to
look to Ed
|
29
|
3-13
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
CU on Hugo
|
30
|
3-14
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
Cu on Ed
|
31
|
3-15
|
OTS
|
High
|
‘hand-held’
|
Support-
Monopod
OTS over Ed to Hugo
|
32
|
4-1
|
WS
|
High
|
Still
|
Support-
Tripod
WS of Ed with body
|
33
|
4-2
|
CU
|
High
|
Still
|
Support-
Tripod
CU on hands
|
34
|
4-3
|
CU
|
High
|
Still
|
Support-
Tripod
CU on Ed
|
35
|
4-4
|
OTS
|
High
|
Still
|
Support-
Tripod
OTS Ed looking to
body
|
36
|
4-5
|
OTS
|
Low
|
Still
|
Support-
Tripod
OTS Ed looking up
to Sarah
|
37
|
4-6
|
MS
|
High
|
Still
|
Support-
Tripod
MS of Ed shuffling
back
|
38
|
4-7
|
MS
|
Eye level
|
Pan
|
Support-
Tripod
Quick pan from Ed
to Sarah
|
39
|
4-8
|
MCU
|
High
|
Still
|
Support-
Tripod
MCU on Ed
|
40
|
4-9
|
WS
|
High
|
Pan
|
Support-
Tripod
Pan from Sarah,
past Ed to where body was
|
41
|
4-10
|
CU
|
High
|
Still
|
Support-
Tripod
CU on Ed
|
42
|
4-11
|
CU
|
Eye level
|
Still
|
Support-
Tripod
Cu on hands
|
43
|
4-12
|
MS
|
Low
|
Pan, track
|
Support-
Tripod
MS of both
|
44
|
5-1
|
WS
|
Low
|
Tilt up
|
Support-
Tripod
WS of house
|
45
|
5-2
|
WS
|
Low
|
Still
|
Support-
Tripod
Same shot as 5-1,
Ed and Sarah walk in.
|
46
|
5-3
|
MS
|
Eye Level
|
Still
|
Support-
Tripod
MS of both
|
47
|
5-4
|
CU
|
Low
|
Still
|
Support-
Tripod
CU on Sarah
|
48
|
6-1
|
MS
|
High
|
‘hand-held’
|
Support-
Monopod
MS of Ed, Ed in
deep corner of shot, Hugo sits beside
|
49
|
6-2
|
CU
|
High
|
‘hand-held’
|
Support-
Monopod
Cu on Ed
|
50
|
6-3
|
MCU
|
Low
|
‘hand-held’
|
Support-
Monopod
MCU on Hugo
|
51
|
6-4
|
OTS
|
High
|
‘hand-held’
|
Support-
Monopod
OTS Hugo, looking
to Ed
|
52
|
6-5
|
MS
|
Low
|
‘hand-held’
|
Support-
Monopod
MS of Ed grabbing
Hugo
|
53
|
6-6
|
CU
|
Low
|
‘hand-held’
|
Support-
Monopod
CU on Ed pulling
Hugo up
|
54
|
6-7
|
WS
|
High
|
‘hand-held’
|
Support-
Monopod
WS of Ed throwing
Hugo down
|
55
|
6-8
|
CU
|
High
|
‘hand-held’
|
Support-
Monopod
CU on rock being
picked up
|
56
|
6-9
|
ECU
|
High
|
‘hand-held’
|
Support-
Monopod
ECU on bloody rock
being lifted up after hit
|
57
|
6-10
|
WS
|
High
|
‘hand-held’
|
Support-
Monopod
WS of murder
|
58
|
6-11
|
CU
|
High
|
‘hand-held’
|
Support-
Monopod
CU on Hugo dying,
last hit
|
59
|
6-12
|
WS
|
Eye level
|
Still
|
Support-
Tripod
WS of Ed standing
over body
|
60
|
7-1
|
MS
|
Low
|
Still
|
Support-
Tripod
MS of Cain, drops
the rock
|
61
|
7-2
|
ECU
|
Low
|
Pan-tilt, zoom.
|
Support-
Tripod
ECU on Cain’s eyes,
pan down to apple. Zoom in.
|
62
|
8-1
|
WS
|
Low
|
Still
|
Support-
Tripod
WS of Ed walking
towards house.
|
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