Lighting Effects & Camera Movement

Lighting

    For the majority of our shots -especially in the primary location of Weybourne beach- we decided to use ambient lighting to add a sense of realism to the production, as well as to make the dark costume of the antagonist Ian Moone stand out to the audience more.

    Whereas in the interior shots from our secondary location - the shed that we filmed in- we decided to use chiaroscuro lighting from a compact torch that our victim has in our narrative. We used this to highlight the crucial moment of our victim Sam - along with the audience- seeing the antagonists face for the first time, along with accentuating the shot as a pinnacle moment within our narrative.

We wanted to use this shot for when we first see our antagonist as it is similar to that in 'The Third Man' when we first see the character of Harry Lime, and resultantly realise that he isn't actually dead; as we were earlier led to believe. 

This lighting used in 'The Third Man' helps to suggests links from Harry Lime to the concept of a phantom, much like the lighting used in 'Nosferatu the Vampyre' (1929).  This link helps to reinforce the eerie feel of our narrative and character of Ian Moone, who manages to follow our victim Sam without being noticed, and when she turns around cautiously; he has suddenly vanished. 

Camera

    As to accentuate the isolation of our victim and the Weybourne beach location, we decided to use an aerial shot which not only successfully did this, but also extracted the audience from within the action and provided a change in camera movement; keeping the audience interested. As this was a very interesting and distinct feature of our production, me and Madeleine decided to create a commentary of the use of the aerial shot to explain how and why we did this: