Producing the Short Film: Initial Scenes of Dual Narrative

First of all, we shot the first part of the dual narrative of our Short Film. Shown below are some images and videos which are examples of what we captured on our first shoot.

Here are our first two attempts at filming the scene where our title Pulse appears.

This is the example of the close up that we originally practised with Sarah  Mauremootoo and this scene shall feature in the film. 

Whilst filming this part of the narrative, Lucy and I realised that this scene was another way in which we could incorporate high angle shots in the sequence. This creates a sense as if she is being watched and the space she is trapped in is quite small and claustrophobic. 

The slight low angle shot inserted below demonstrates the desperation and vulnerability of the victim as she longs to be freed.

The next two clips show how we disrupted the intense scenes of the crying for help as they distract the audience slightly from the cries of help from the victim as they concentrate momentarily on the props in the scene and their significance to the plot.

Featuring hands and feet being restrained is an iconic feature of kidnaps within films. However, we decided to use close ups when portraying them in PULSE. As mentioned above this helped to break the tension build up through the cries of the victim and acts as momentary relief - as you can still hear the despair of the victim in the background but it is not prominent within these scenes. Also, the variety of shots keeps the audience engaged and entertained.

Below are three takes of our final scene with the victim. In each clip there are different aspects that Lucy and I like and dislike. 

In the first clip showed above - me, Lucy and Miranda all agreed that the acting could be slightly better.

In the footage above Lucy and I were very pleased with the acting and everything about the scene, our only concern was that the lighting may be a little dark to pick up on the victim's expression.

However, when we introduced another source of light the garage didn't quite have the same eerie appearance and so the effect wasn't as powerful.

Therefore we decided to use the second clip as part of our final sequence to the film.

Producing the Short Film: Filming Schedule

First filming session

Date: 18/12/11 
What we filmed: Pulse Ident and all Kidnap scenes
Crew/Cast: Myself, Lucy and Miranda
Props: Candles, Paint, Clapperboard, Rope, Chair, Gag(cloth), Make-up (bruised face), Saw and mask (obscure setting-mise en scene)
Equipment: Tripod, Batteries, Charger, Laptop (for sound), Torch (extra lighting), Video Camera, Digital Camera



Second filming session

Date: 09/01/12
What we filmed: Bedroom scene, Train scenes, Stalker following girl scenes
Cast/Crew: Myself, Lucy, Miranda, Kieran
Props: Hairbrush, Bag, Laptop 
Equipment: Money for train, Tripod, Batteries, Charger, Video Camera, Digital Camera, Clapperboard, Umbrella

Third filming session

Date: 20/01/12
What we filmed: Establishing shot of the houses and shot of the train leaving (from the bridge)
Cast/Crew: Myself and Lucy
Props: None
Equipment: Video Camera, Tripod 


Fourth filming session

Date: 03/02/12
What we filmed: Chase scene
Cast/Crew: Myself, Lucy and Miranda
Props: Same costume for continuity
Equipment: Video Camera, Tripod, Torch (extra lighting), Digital Camera

Planning my Production: Practice Shots

Before filming our production we decided to practice and experiments with different shots and our ability to frame them. We considered ways in which we could improve our angles, frame shots and techniques in order to have experience for the shooting of our Short Film.

Miranda Burns was absent on the day we practised these shots in our school so our understudy stepped in - Sarah Mauremootoo.

We practised this shot to see whether the quality of filming would still be of a good standard even though the camera will be moving freestyle at quite a fast pace. Now that I have seen that this type of scene can work effectively, I think we can incorporate it within a chase scene towards the end of the film.

We practised this shot angle to see how far away the camera quality can detect the movement and expression of the characters.

This is a reaction shot that we practised to see whether the camera could detect the fast movement and then clearly show the reaction of the character. We may decide to feature this type of camera shot in the film itself.

This close up shot allowed Lucy and I to see that the camera that we would use to film would be clear in focus and precision.

We considered  this high angle shot to possibly feature as a CCTV shot on the train. If we were to do this we would alter the colour to black and white.

The two point of view shots above would feature in our film as from the stalker's perspective as he spies on his victim.

These two examples of camera shots through the mirror will be featured near the beginning of the film and will probably be in the first scene where the main character is introduced.