I enjoyed this particular exercise for the reason that though it was rough, the team was able to pull together, find a location, and think up a sequence of shots on our feet, film it and rock and roll through the editing process.
Scenario: Bliss ties her shoelaces, gets up, walks towards the elevator, enters then exits out on a different level.
Goofs: *spoiler alert* Continuity goof because which floor did we start in again?
Types of shots:
- CLOSE UP – tying of shoelace
- WIDE SHOT + PAN – Bliss gets up and walks towards the elevator doors
- LONG SHOT – Bliss presses the elevator button and enters
- MID SHOT – Bliss enters the elevator, turns around to press the button and the elevator door closes
- MID TO CLOSE-UP SHOT – Elevator doors open and Bliss walks out straight towards the camera before FADE
Simple, quick and easy. The main character is motivated and goes through each shot with ease. Shooting the scenes in sequence allowed us more time to shoot other shots (i.e. establishing shot of the elevator numbers going up/down) that then in turn, helps in the editing process.
I know that on a professional film set, it is rare to shoot films in sequence (Paradise Road team, I salute you) but that is exactly why it is important to have a SHOT LIST that dictates what will be shot on certain days and the kind of shots these will be too. These are important for the editors, especially, to make their work a lot easier also.
Choosing your shots wisely gives the final product colour and texture. Unlike in the first exercises we did in class where most were simply mid-shots and wide/long-shots of this or that that was, for no better word, boring, it is useful to think up of a scenario and picture it not as you would see it with your naked eye but see it as one would see it on screen or whilst you’re reading a book or even dreaming. An example of such experimentation (because we know what the outcome will look like) below: