2. Throughout the beginning of the trailer, a variety of
camera techniques will be used in order to generate
the desired atmosphere needed to elongate the
tension. Establishing shots will be used, so
audiences can get a scope of the utter isolation and
individuality of the Cumberwell house, and how
alone the couple are. The duration of shots will, on
average, be approximately 4 seconds โ not long
enough to force audiences to lose attention, and not
short enough to lose the focus of each individual
shot. Slow zooms will be continuously used
throughout the first 30 seconds, in order to plant
the idea that Kerrie and Joel are being watched, and
there are external forces pressing in on them. The
180 degree rule will be used in order to show the
interaction between the characters, as well as giving
a basic insight into the personalities of each
.Furthermore, the camera will often move between
doorframes and around corners, adding to the
aforementioned idea that they are being watched.
For this trailer, a Nikon D90 DSLR camera will be
used. This camera shoots in high resolution and is
able to extend up to ISO 6400, allowing for a
multitude of shots that vary in colour, brightness
and style. The camera is not especially heavy either,
allowing for easier handheld movement without
shaking, and is relatively easy to use.
In terms of lighting during the first half of the
trailer, ambient lighting will mainly be utilised in
showing shots of the house and the couple, as this
introductory basis for the trailer will take place in
the daytime. However, after Joel finds the basement,
the rest of the film will take place at night, meaning
that lighting will need to be manipulated to create a
desired effect. One such example of how I intend to
manipulate the lighting is by standing outside a
shot, taking pictures with the flash on, in order to
give the impression of lighting โ a common
convention of supernatural horror films.
In order to guarantee stability and the fluidity of camera movement, the D90 will be mounted on a tripod,
which will subsequently be placed on a modified skateboard and manned by two people. Evidently, this is
inspired by Kubrickโs iconic use of a Steadicam in The Shining, and will hopefully emphasise the imagery of each
particular shot and allow shots to have a longer duration without unsteadiness or jerking movements. This
method of filming will be used predominantly for the first half of the trailer, as it will allow for swift movement
through rooms and long shots of various scares in the distance. It may also be used for the final โjumpscareโ of
the trailer, where Joel will be standing facing the mirror (behind the camera) and the camera will pan to the side
to show a ghost of a little girl standing outside the door. Joel will then switch the light on, and the demon will
be seen in the corner of the bathroom.
3. As the second half of the trailer takes place at night, many of the lamps, candles, and lighting
devices will be moved around on set in order to generate enough light to film by. Key and profile
lighting will be used to great effect, as this will allow for the entities haunting the house to only be
glimpsed โ not giving away too much of the appeal of the film, while giving the audience enough to
entice them to actively pursue the film. Furthermore, the main source of light will be the natural
lighting of the moon and the candles available to hand. Although battery powered lamps will be
used to create shadows and tricks of the light, candles will be the primary focus of light, as I am
trying to emphasise the old-fashioned grandeur of the house and remind audiences of the
supernatural horrors of the past. This, combined with the decor of the house, will also serve to link
the film in with the gothic subgenre, adding an element of individuality to The Basement that may
not be found elsewhere.
As the trailer begins to escalate in pace with the
reveal of the horror, the camera will be utilised
accordingly. For the third quarter of the trailer,
shots will vary in length, though will on average
be shorter than those of the first half of the
trailer. This infrequent pacing will allow the
camera to focus on prolonging tension for
emphasised jumpscares, while also allowing for
quick shots of half-hidden horrors and panicked
dialogue, generating the necessary amount of
emphasis for the last quarter of the trailer.
Moreover, these shots will intersect with one-three
straps, put into place in order to give the
audience an insight into what is actually
happening without focusing heavily on the plot.
Repetition of certain words and emphasis on
horror-related words will be shown in each of
these straps, to signify the subgenre and create
symbiosis with the tagline seen on other
elements of the promotional package like the
poster. The font used in each of these straps will
be reminiscent of fonts used in Hammer horrors
โ big, bold, red โ with little need for subtlety.
For this third quarter of the trailer, the camera
will be taken off the tripod and be used
handheld for the majority of the shots. This
will allow the camera to get close ups of the
actors, allowing the audience to share in their
fear. It also allows for a wider variety of
unusual angles and personal shots to be used
โ particularly low/high angle shots, of which
plenty will be used during this part of the
trailer in order to show the transition of
power from the couple to the entities haunting
them. Also, the D90 can be placed amongst
objects on tabletops and allow for closer over-the-
shoulder shots, fully enforcing the idea
that the evil is closing in on them โ an idea
alluded to in the techniques used in the first
half of the trailer. Furthermore, for this part of
the trailer, shallow focus will be used in order
to shift attention to the entities that will
mainly be in the background of the shot. This
technique will be displayed once or twice, as it
is often hugely effective in giving the viewer a
tantalising glimpse of the horror, but only if it
is not overused.
4. When the last quarter of the trailer begins, a series of
montage clips will be used. Construction of
memorable imagery is essential here, as these images
flashing up on screen in 1-2 second bursts are likely
to be one of the main aspects of the film that the
audience will remember. Therefore, each shot will
have a flicker effect, in and out of what I will consider
to be the more effective scares of the movie. It will
primarily consist of close ups and medium shots, as
well as more use of shallow focus but with the horror
being much closer to the foreground than shown
before. Black, reds and yellows will be the main
colours on screen โ black for darkness, red for blood,
and yellow for candlelight.
Lighting will be flickering and minimal throughout these montage clips. Only vivid profile lighting will be used t o draw
full attention to the horrors being witnessed, and the self-made lightning will be often provide the only illumination for
the action on screen, throwing the characters into screaming silhouettes and distorting everything happening within
the shot. The lighting will remain this way until the title is shown in white, bold, huge letters, silhouetted against a
black screen, which will then be followed by the jumpscare mentioned on one of the previous pages. For this final
scene, the lighting will return to โnormalโ, with ambient lighting being manipulated in order to show the outside of the
room in darkness, with the bathroom being dimly lit, in order to accentuate the demon within.
There will be particular emphasis on the final shot within the montage. On this instance, each time the shot flickers
into the next, it will be a continuation of the previous shot. For this succession of interlinked shots only, a slightly
shaky camera will be used, to differentiate it from the rest and allow it to embed itself into the viewerโs psyche. The
cameraman will be descending into the basement, and a new kind of demon will be shown, silhouetted against the light
of the candle, at the back of the shot. This particular demon will be the primary antagonist of the film, and the
primary reason the house is exposed to such entities and horrors. For this reason, very little will be revealed of its
actual features, but the outline of its shape will be enough to imprint upon the viewers consciousness โ horned,
clawed, and freakishly tall, raising its claws up within the succession of shots. Excluding the flickering light of the
candle, the entire basement will be in relative darkness, ensuring that only a glimpse is available of this demon. This
will hopefully be enough to envoke a sense of lingering fear within audiences, prompting them to watch the film.
5. INFLUENTIAL SHOTS
The Woman in Black (2012)
I loved the first half of this film for
its minimal use of sound, emphasis
on atmosphere, and old-school
scares. This particular shot-reverse-shot
provides an unexpected scare,
as viewers see Daniel Radcliffeโs
character surveying the grounds,
seeing nothing, and then it cuts back
to this.
Insidious (2010)
This particular shot of the silhouetted
demon embedded itself into my
consciousness for a long time, and
eventually allowed me to form the
idea for the devil in the basement. The
movement, pose, and height of this
demon is perfectly attuned to what I
envision for my own creation,
although mine will look different.
The Shining (1980)
The way this shot flickers onto the
screen for half a second demonstrates
the power of Kubrickโs direction โ
imprinting a single shot onto the
viewersโ senses without even needing
to linger on it. The symmetrical
portrayal of the brilliantly vivid
imagery will be the source of
inspiration behind some of the
imagery I hope to create within my
trailer, with emphasis on bold colours
and symmetry.
Let the Right One In (2008)
This extended long shot endures for
almost 40 seconds as Oskar holds his
breath underwater, waiting to drown
โ and he is not the only one holding
his breath as the audience are forced
to stare at the image of a young boy
dying. Until the hand holding him
down detached from its arm. The
patience and execution of this shot
taught me that not all scenes to be fast
paced and action-heavy to be scary.
