We began our shooting in the field almost as soon as entering it, filming a wide shot of the entire area that frames our protagonist as an almost invisible speck in the middle of it, enforcing his isolation within the film. This shot proved challenging: to get high enough to show the entire film I needed to balance on the top of a fallen tree, trying to keep the tripod and camera steady whilst at the same time trying not to fall off.
Once stable, we encountered another problem. To get the best framing of the shot I needed to tilt the camera down slightly, which would show the tree branches below.
After this we decided to shoot some handheld footage of the protagonist dragging the body across the field. As we started Tim noticed that we had no footage of the character emerging from the forest as we had planned: we shot the footage after some more gardening, and moved back onto the handheld footage. We approached this by allowing Pete to improvise reactions whilst dragging the body through the field, with me following him as I filmed. We had a problem with my shadow being cast on the area I was filming: we remedied this by ensuring that I filmed from certain angles to minimise the amount of shadow in the footage. We will approach this in editing by carefully vetting the footage for any hint of my figure in the frame. The handheld footage is going to take a prominent role in our film, with much of the "Field Sequence" being made up of it. This allows us a close and chaotic camera style to highlight the character's emotions, as well as giving us the opportunity to get some close-up reaction shots whilst on the move.
- Joe Lawrence
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