List of Challenging Shots + Research Into How To Do Them

Numbers relate to numbers on the story board*

Focus pull 3- When the package has just been received and the pull is needed to go from Quincey in the background to the package in the forefront.

Tilt shot 5/6- When we film Quincey doing work at his office, the tilt shot may be tricky due to us having to match the same speed of the tilt as the tilt of Quincey's head looking towards the clock.

Long/Mid shot 7- Where the car is shown driving past, we will need to stand far enough back to show the car for a long enough time, not letting the car zoom past too fast to not even be able to see who it is driving it.

Mid shot 9- When the hitman is driving the car, when in fact the actor playing the hit man cannot drive, so we will have to change the driver but make sure it always seems the same.

Mid/Long shot 10/11- Shows Quincey from behind the bush walking round a corner and carrying on walking towards the corner, we could do this by having Quincey walk directly towards the camera and then fade out of the shot before Quincey walks into the camera, or we could have Quincey walking past the camera to one of the sides eg. past the camera to the left.

Close shot 15- We will have to get the face fully lined up in shot first then have the second character the come into the shot standing in the right position to still be able to see them. also the other person needs to be far enough back so that he is faded enough.

High angle, Focus pull, 16- we need the shoes shown close enough to identify them as the ones that delivered the package but also enough out of shot so that the viewer can see the hit man out of focus through his legs, plus the correct distance so that the focus works well.

Close up 18/19-the shot when the gun is fired at the hitman, we decided that we could have done it 3 ways 1) fades to black then shows the gun post gun shot 2) a blurred shot of the hitman falling after the gun is shown being shot. 3) a fast amount of shots that are edited together. Also this could look good in black and white, with the black looking very dark covering a to of the shot, this will look good because it will make the past scene look like more of a memory faded and fussy.

Mid shot, low angle 21/28- The shot needs to be the right height for the viewer to see both the hitman on the floor and Quincey sitting down with his head fully in shot.

Close up 24- we need to have the shot of the gun being hit out of the hand of the hitman fully in  the shot, and so the viewer can fully view what is happening and so they can see that it looks realistic.

long/mid shot High angle 26- the low angle effect on this will let the viewer be in the shots of the hitman looking up at carlos about to shoot, but with this we will have to make sure that everyone is in shot fully.

Close up, High angle 30- the gun needs to be close enough for the rest of the shot to be out of focus but far enough back so that the viewer can still can still see that it is a gun that Quinceys holding, also we may need to compensate for the fact that we could have the recoil of the gun in the shot.

Close up, High angle 31- in this shot we need to be careful for having the blood, due to our film being only a 15 certificate the amount of blood or how it is presented will need to be kept an eye on very closely, plus how to make the blood splatter look realistic and actually look like it have come at a result of a gunshot.

Shot 18/19


Shot 18/19


Shot 7 + 9