In the above shot, I was filming the tracking shot of Scarlett as she walks around the tree; to keep the camera steady enough so as not to cause the audience motion sickness, but also to give a feel of it being a point of view shot, I kept my hand curved underneath the lens part of the camera. This is a technique I used throughout filming, to account for our lack of a tripod towards the end and to give that feeling of the shots being from someone's point of view.
I chose to have this shot on the right of the arch because it meant that they created a shadow across where I would film (due to the copious amounts of leaves) and would cause a darker, more sinister atmosphere for Scarlett's final moment, showing that the stalker had finally caught up with her.
In the above shot, I was demonstrating to my partner which angle to take the shot from (which would be of me) and how to zoom out smoothly, so that it would not be jolty.
Here I am checking footage that my partner has filmed in order to see if it was steady enough, and if it is the angle that I wanted. I wanted this shot because I thought it would make a good cutaway; as the scarf is such an integral, symbolical prop within the thriller, I wanted at least one video that focused on it in all it's innocence. This shot also brings the audience back to the time when it would have been taken, during the happy parts of the girls' relationship, causing them to be reminded of it and the previous good times during Scarlett's last moments, accentuating the tragedy of the situation and heightening the grief.
Here, I am filming the shot where Scarlett whips around to look at the camera; as opposed to using a tripod, I have used the tree to support my hand and keep the camera steady in the way I want it. This use of the tree has also meant that I'm able to get some of the tree itself in front of the camera, giving the feeling that the stalker is peering out from behind it. It reinforces to the audience that he is hidden, and heightens the tension as Scarlett still does not know what is waiting in the shadows for her.
Here is an alternate shot of me filming using the tree, so that you are able to see the protruding branch that I am leading the camera on. I also took this shot far from the path; this meant that not a lot of light was in the shot, and the environment seemed darker and more desolate from where the stalker was standing - this reinforces the juxtaposition within the character's lives, as Scarlett is still in the light and very innocent.
The above photos are of me directing Louise (Scarlett) on what I needed her to do, like when to turn around in shots and where to stand during the flashback scenes. I chose the flashbacks to be at an intersection within the common, as this is at first hidden in those scenes, but when Scarlett later turns to the place, they become revealed. This makes it more suspenseful and eerie, as there are more places from which a stalker could see you when you're standing in the middle without noticing.
