2. COMPARISON 1
The most significant difference between these two shots is the depth between them.
During the preliminary task I did no colour correction and editing with the exposure
or saturation. From this transition, you can see that I am now able to manipulate
lighting to create shadows which further adds to the tension I wanted to create. The
shot from the opening has much more of an effect on the audience because of the
editing skills I learnt.
3. COMPARISON 2
Furthermore, I have developed my confidence with close-ups. The shot from the
preliminary task shows a match on action which we also used in the opening
sequence. However, this shot from the opening is just a regular close-up. The shot
includes the hammer (the murder weapon) which we have also manipulated in editing
to create shadows by turning down the exposure. We also learnt to put in titles, unlike
in the prelim.
4. COMPARISON 3
The mid shot from the preliminary task was used as a shot-reverse-shot during a dialogue scene and
was filmed from a higher angle to get an eyeline match. In contrast, the medium close-up shot from the
opening sequence is again much higher quality in terms of editing, but also in terms of representation
and deeper metaphorical meanings. As I continued filming I learnt how to use shots in a creative way to
express meanings. The skill in this shot is higher because we managed to film this shot without getting
the camera in the reflection of the mirror. Additionally, we applied the rule of thirds to this shot to add
variety and interest the audience.
5. COMPARISON 4
The two-shot from the preliminary task demonstrates how we used the 180
degree rule when filming a dialogue scene. However, on the opening shot we were
able to experiment better with low angles and how that would effect the
representation of characters and the effect that would have on the audience's
perception. The difference between these shots shows how we have developed in
not only variety, but also by experimenting with the proxemics of everything in the
shot.
