We again scheduled to use the dark room on a free period, and also decided to film shots that weren't specifically designated on the storyboard so that we would have a larger variety when it came to editing.
All the shots were filmed with the average LED lights that were already present in the room, and we brought additional lighting to frame the actress's face when we capture the shots where she comes to the realisation that there is someone in the pictures; this was something that we hadn't done well in the original filming, so we improved on this. We also decided to use water as a substitute to the chemical normally used in developing photographs, this is to help make the scene more realistic, but this also allowed us to shoot more complex close up shots involving the reflection in the water; these atmospheric shots help to portray the emotions within a scene, and engage the audience through the representation of tension shown in the footage.
We later uploaded the footage onto Premier Pro, and found the correct settings to modify the lighting to include only the red elements within the clip; this provided a suitable red filter that has given us the effect we wanted. The footage was vastly improved on quality, with the audience able to make out the figures on the pictures the female is developing.
The range of shots that we took were much more complex, and when we put them into sequence it has allowed more tension to be portrayed through the extreme close ups, with the detailed shots prolonging the information that the audience want to discover.
Upon reflection, this is something that could have been avoided by thorough planning, where test shots could have been taken to investigate whether the red lighting was suitable to film under, or if we would have add a filter, as proven in our re-shoot.
No comments:
Post a Comment