Shooting Your Footage / Shoot Material Log (A.C 2.1, 2.2, 2.3)

 Shooting the Material

During the shoot days, a shoot material log was used to record the shots captured that SHOT LISTday, including information about the framing and angle of the shot, duration of the clip and whether or not it was a successful take.

Recording this information helped me keep track of what still needed to be film, making sure to refer back to my planned shot list (pictured left) often to make sure I was getting the required shots as needed.



Shoot Material Log

Below are examples of my material logs.


If some of the shots weren’t useable, I made sure to note why. Including descriptions of the shots will help me organise the footage during the editing process, rather than have to sift through all my footage every time I need to add another clip to my sequence.


Shot Styles

As I had distinct visuals to create during my shoot, it required me to set up my camera for every shot to create a consistent looking film. Referring to my shooting script, story board and shot list informed me of what angles to shoot from, how long the shot needed to be and other details, this made made setting up the shot an easier process.

Natural Daylight Shots 

Shooting the daylight shots was the easier part of the shoot, the lighting made for good shooting conditions meaning I could shoot on a lower ISO meaning there would be less grain on the shots. This made the daylight shots feel softer and more human in contrast to the dream-like sequence shot with studio lights. It was important that I created these two distinct moods for my film, to create a separation from the person and their mood disorder.

Below on the left is a screen grab of a shot where the girl lays down on the bed, I shot it at a medium angle with a narrow aperture meaning everything in the shot was clear and crisp, however when reviewing the footage I decided it looked a little too static. The image on the right is the shot reshot, the shot is closer and a tighter frame so the pillow fills the frame, I shot with a wider aperture so the background is blurred with a shallow depth of field, giving the shot a softer feel which I felt better conveyed the mood I was trying to create.

Below are additional before and after shots after I changed the framing and aperture settings. I much preferred the shot where the hair is very close to the camera, it’s more visceral and I really wanted to capture small details of getting into bed, to make it feel more like a textured experience rather than static shots of her just getting into bed.


I also wanted to have a variety of shot angles, some eye level and some at a high and low angle, below are examples of different angles I used during the beginning sequence of the film as I wanted to keep it interesting.

To maintain consistent imagery I made sure I shot on the cloudy setting on my SLR to ensure the colouration of all the shots looked similar.


Nighttime / Studio Lit Shots

In the second sequence of my film, I wanted the film to have a dreamlike quality, to achieve this I employed the use of studio lights, adding green, purple and blue tones to my set. I wanted the images to look hyper real and reflect the disordered state of mind experienced by the girl in the shot.

I created the shots below by mixing a combination of red and purple lights illuminating the set from two different angles to give it a surreal quality, I thought this worked well with the shots were the phone was included, making the images seem hyperreal.

It was important to keep moving the lights around to ensure the set was properly lit, however I was limited to only two lights which were not quite bright enough to light the shoot completely, therefore I had to shoot on a higher ISO to compensate which made the quality of the film slightly grainier.


In the above shots, it was very important that I maintained the same lighting conditions, framing and camera position as the sequence required the girl to move around the shot, to give the impression of time passing as she changes position. Therefore I dressed the sets, chose camera settings I was satisfied with and set the camera on a tripod. The ending result worked well. I chose a greenish tint, as I wanted a transition between the daylight shots to the hyperreal blues/red lit shots. I wanted to portray the girl beginning to descend into a depressive spiral and felt colour was a way to do this.


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