Keeping to our decision to rotate jobs consistently, so we would all have a chance of filming in each scene, Sam warren assisted in the filming of the shot reverse shots during the dialogue between the two characters as he was the only one tall enough to hold it steadily over Zaks shoulder to get George in the shot, James Scott filmed a two shot, medium shot of the characters feet walking in opposite directions out of the shot and I filmed and directed the high angle shot of the main character, Max, walking up the stairs, whilst using the lights on our phone cameras to provide a bit of light on the stair case, since without this added light it was almost impossible to see him. I also took photos of the filming process to provide evidence of each of the members of my group filming the different shot we assigned each other. Sam Warren helped Adam Ledger into the significant black cloak and latex mask of the antagonist, whilst James Scott, James Lawley and I directed Zak and George the shots we had planned and decided upon. Whenever someone else in the group was filming a shot, we would have two people planing for the next shot, and one person overlooking the other shooting a shot or movement, to ensure that we filmed it perfectly and precisely first time, decreasing the chance that we would need to waste time re-filming the shot. This structure of preparing and filming came in useful when I noticed one of the shot reverse shots, in which the camera faced George over Zaks shoulder, was obscured by Zaks hood from his coat, which went unnoticed by Sam at first glance and luckily I pointed it out before we moved on.
When we finished with filming the dialogue, two shot between George and Zak, we moved onto the stairs where James Scott filmed a low angle shot of Zak walking up the stairs, I filmed a high angle shot of Zak walking up the first flight of stairs to the first landing, Sam Warren filmed a tracking/follow shot of Zak walking up the stairs to the second landing at the top. After he had reached the top of the stairs and approached a bridge over the train tracks, James Scott again filmed a stationary mid shot of Zak walking past the camera to the left, which was bordered by the beginning of the bridge and the end of the railing of the stair case to the right of the frame.
After filming the shots of Zak on the stairs, it was now time to introduce and begin filming shots with the antagonist in, the cloaked figure, played by Adam Ledger. Sam Warren and James Lawley helped him suit up with the machete, black cloak and latex mask. Although there was a problem with the cloak as it had no fixtures on it to stay closed permanently which we learned from the first night of filming, of which we asked Adam to come along to as we felt it would be useful for him to get an idea of the surrounding, how he would compose himself and the victim he world have to intimidate. Since we had tested this last time James Lawley, being in charge of props and costume, came prepared with sellotape allowing the cloak to remain closed when acting, concealing the outline of his human body, causing him to remain somewhat of a mystery to the audience.
It was now time to film Zaks eventful journey across a creaking, bridge engulfed in darkness of which James Lawley filmed the majority of, specifically a pan and an over the shoulder shot and I filmed a long shot of Zak walking towards the opposite end of the bridge. Although I previously talked about how the street light were of somewhat a benefit to us, there was a certain flood light causing problems with the long shot by creating a lens flair and also engulfing the frame in light making it harder to see Zak directly and so we had to position the camera in a area where this blinding light could be blocked. The problem now was that it was too dark, so again we used the lights from our phone the light Zak up, making him a little bit more visible in the shot. We also had to take into consideration how well, clearly you could see the outline of the cloaked figure, Adam, in the background, otherwise the would not understand the use of this shot in conjuncture with the next, with Zak turning around to see nothing.
The last shot we decided to film of scene three was one of Zak, the victim, fearfully and swift-fully walking away down a slope at the end of the bridge, looking paranoid as though someone or something is following him and he doesn't want to find out what, so rushes home quickly, while trying to remain discrete. The long shot, pan filmed by James Lawley took two takes to get right, as Zak walked too slowly in the first take, failing to express how desperate Max, the victim, would be to get home. We ended the second day of filming hear and went our separate ways, planning to film the rest of scene 4 and hopefully scene 5 on Thursday, the 28th of January.
Being located near a leisure centre meant that we did have a few interruptions from late night gym goers, which caused us to take longer to film shots, by having to wait for them to walk passed, but once they had gone we carried on filming the shot or movement. This caused us to stop quite a lot of times but more so on the bridge, and since we have finished filming the scene involving the bridge, we expect that there will be a lot less interruptions the next time we film being because it is not on a particularly busy road and the last scene is mostly going to be shot around a house. Another problem is that when recording the audio separately we forgot to clap or make a loud noise to make it easier for us sync the dialogue up to the video which may prove to be a big challenge when we come to editing it and if done poorly will affect the immersion of the viewer in a negative way. We ended up making the progress we wanted, by getting up to the scene where Max is rushing home, despite our worries about interruptions
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