Interior Scenes Footage Review

After shooting the interior scenes I got a copy of the footage so I too could check that all the footage looked alright and we could decide we didn't need a reshoot. Our second shooting day locations was very close to the first day location so if needs be we could easily redo some parts.

Here in one of the opening shots we wanted to clearly and quickly establish that the character is very artistic and creative, so I introduced her in the background, while the drawings and drawing equipment was very much in focus in the foreground. Thus we immediately know that drawing herself is an important aspect of her life.

This again is shown in a shot later which you can see here where I focus pulled from Lucy onto her drawing to show the audience what she's doing and to show everyone how she passes her time-in an imaginary world. The pens again are still prominent in frame to emphasise this further.

This is a shot from later in the scene but I still played on the idea of focus pulling from the pens to Lucy to show her creative side. I wanted to keep this visual motif running. If anything I think here I made it a bit too obvious and it could have done with being more subliminal.

Another visual thing I thing I tried to keep going was putting Lucy in the centre of the frame since it partly mirrored the idea of video games where your character is always (generally) in the centre of the screen. This furthermore gets across the idea of living in different worlds etc and on a different level looks visually very good. This shot in particular looks quite dreamy with the lighting in front being very bright. A good example of the amount of light the window let into the room.

Here again you can see how I framed Lucy in the centre, here again I think it looks very good and we wanted the drawings to engulf her and frame her to show how they are an integral part of her life. I especially like the lower angle shot of her, from a low angle you get the impression of greatness. Also for that shot I used the 24mm so that it distorts a bit and looks like it pops slightly in the middle, a very subtle thing, but an extra level nonetheless. Looking back I wish we held these shots for longer I think it would have been more mature filmmaking, but we were going for a bit more of an energetic feel so insert shots and cuts fit more than a long held shot. This also shows a clear influence from Super, something I planned on in my analysis of the final scene of the film.

In this shot we wanted to try and do a bit of framing to experiment a bit more. I think visually it worked very well as you can see here, it is a busy and relatively interesting frame but the problem is that it is not really beneficial to the story at all. It looks good but doesn't bring anything much to the story beyond putting the camera in a room so understanding a bit more about the architecture of the location.

Here is a close up meant to be a similar but closer version of the previous shot but here the huge window got in the way. There was so much light coming through it made Lucy a silhouette pretty much making this shot useless. It still looks interesting but doesn't fit with the rest of the shots.

Here is an example of one the close ups we did of Lucy with the 50mm. Like my tests it worked very well, the proportions look good and there is enough of the background to fill the frame interestingly but not too much.

Here are another couple of 50mm close ups, again they both look good and are framed quite well. The door handle was in a different part of the house where it didn't get much light so it is a different colour but the colour still does strangely compliment the light shade of all the other shots. Colour correction would be pointless due to how different they are but I don't think it's too much of a problem since the shot its self isn't particularly essential to the continuity of the scene. 

Here you can see how I created a sort of visual metaphor for Lucy's feelings to the drawings. The left photo is when she has just put the photo up on the wall, as a result she is still confident in herself and is very close to the drawing, she feels very connected to it. As a result I used the 50mm to make sure we got in close to really appreciate it and get this feeling. The right photo is after she has given up on her super hero esque dreams and has ripped down all the paintings, since she is so unconnected with all her past dreams she is now standing a lot further back to look at where her wall just was. Consequently I moved further back with the camera to exemplify this and make it very clear to the audience, it seems more like we're observing her in this shot compared to the left shot where it feels like we're more involved with her and the scene. This again shows the power of using an immersive 50mm to connect with a scene more or a 24mm to make it seem more objective and like we're watching someone rather than engaging with them.
This again is partly reference to Super as the importance and personal feel of the story partly came from the drawings being seen clearly, something done in the left shot here. We also panned over the images though since they are just black and white line drawings (due to them meant to be doodles) it wasn't as colourful so not quite as interesting and visually outstanding.

Overall I'm quite happy with all the footage and  the shots seem to be of good quality and there seems to be enough to not need a re-shoot.