This is a picture that is going to go at the end of my film trailer as part of a flash -back.
This is also going to be at the end of the film trailer to be shown as a flash back of what the mother and daughter did together.
This is similar to the above shot. which will essentially be used in the flash back.
This picture is supposed to reflect the mothers insanity when i film it properly, as they are both going to be pale and dressed in white.
This is the same of the above photograph.
These shots are of the door slowly being opened by the killer, this shot is also there to reflect the mothers insanity and state of mind. (Long shot.)
The door slowly opens more. . .
and more . . .
and more . . .
These shots are of 'Rachel' and 'Carley hiding in their bedroom from the stalker. (High angle shot.)
The further we get into the shot the more 'Rachel' becomes more mothering and 'Carley' begins to cry.
Same shot as the above shot
These close-up shots are for star recognition and for the viewers to see 'Rachels' emotions. It also links to what is happenening with the stalker.
and more . . .
These shots are of 'Rachel' and 'Carley hiding in their bedroom from the stalker. (High angle shot.)
The further we get into the shot the more 'Rachel' becomes more mothering and 'Carley' begins to cry.
Same shot as the above shot
. . .
These close-up shots are of my friend 'Rachel' in my film trailer she is the mother. The idea behind the close-ups and extreme close-up shots of her is that we can see that she is upset and possibly petrified. (Star recognition). When i actually film these shots the duration will be around 30 seconds to a minute so the audience gets a sneaks view throughout the trailer of what is to come.
If you look at my shots of 'Rachel' upset you will see that i tried a number of frames and shot types to see which one i liked the best.
These close-up shots are for star recognition and for the viewers to see 'Rachels' emotions. It also links to what is happenening with the stalker.
Differnet shots of her crying to see which one looks the best to reflect her sadness.
. . .
. . .
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