1. Shot List
Location: St Paul’s Catholic College
Name of Production: Meadows End
Cast Crew:
Liam De costa as Hayden
Liam Quinn as Ace
Syan as Lilly
Meet Time: N/A
Place: Room N6
Shot Number - 1
Type: Establishing Shot
Location: Park. We decided to create the
establishing shot in a park because swings were
essential to start our trailer. We want to capture not
just the empty swings but also the sound of them
creaking in order to create a dystopian yet dramatic
beginning, so climax can begin build up during the
rest of the trailer.
Camera Position: Static
Analysis of camera movement and Action: We will us
a static shot in order to capture a still image of the swings moving.
Shot Number – 2
Type: Close Up. This is really effective because a close up shot used in this
specific way, can set one of our most significant scenes of the trailer as clearly as
possible.
Location: Local Pub. We wanted to convey the next
shot at ‘The Grey Horse’ pub because we wanted to
‘personally identify’ that our characters are all
working class.
Camera Position: Zoom.
Analysis of camera movement and action: We wanted to use a zoom because
it is the only we can capture a close up image on the name of the pub, which is
more effective than any other camera movement. Since we will use a zoom shot
to establish the pub, the audience will begin to then realize that the pub is a usual
place of socializing. Therefore, they can begin to emphasize with what happens
next within the pub.
2. Shot Number – 3
Type: Mid-shot. We will use a mid-shot for this scene because it is the perfect
way in which we can capture the two main protagonists, as well as the setting of
the pub in the background.
Location: Inside the Pub. We wanted to use the
setting inside the pub to add more meaning to the
previous zoom shot to establish the name of pub.
Camera Position: Static.
Analysis of camera movement and action: In this shot we will portray Hayden
and Lilly flirting in the pub. A static camera movement is most useful since we
only wanted to capture a still image of the two protagonists enjoying themselves
but to make the scene more affective, we want to include the whole set as well
from the static movement.
Shot Number – 4
Type: Close up. Hayden will place his hand on top of Lilly’s hand to connote a
sense of romance between the protagonists. This shot type is most significant
for this scene because we want the main focus to be on the romance between
Hayden and Lilly, which the hand gestures suggest.
Location: We will still shoot inside the Pub as the scene
has not changed yet.
Camera position: Eye-level
Analysis of camera movement and action: We will still use a static camera
movement so we can put the only main focus on the two hands.
Shot Number – 5
Type: Extreme Close up. We decided to use an
extreme close up to portray the foot on Ace. This
shot type is significant in our production because
since we only give a shot of the antagonists’ foot it
can give our target audience a sense of
mysteriousness. Who is the antagonist? What’s his
role in the scene?
Location: The location of this shot will be outside the Pub, as the antagonist
(Ace) gets out of his car.
3. Camera Position: Eye-Level
Analysis of camera movement and action: We will also use another static shot
to capture the image of the foot. The foot is the only significant aspect of this
scene, stationary in its position because it is supposed to add more dramatic
effect.
Shot Number – 6
Type: Long Shot. This will be used in order to represent Lilly walking through
the swings we saw at establishing setting. A long shot is most useful in this part
of the scene because that way we are able to capture the whole setting of the
park as well as Lilly’s movement.
Location: The same park as the establishing setting.
We deliberately wanted to go back to this location
to connote that the most important disequilibrium
of our trailer is the park.
Camera Position: Eye-Level
Analysis of camera movement and action: We will use our first panning
camera movement starting from left to right. This was so we can put clear focus
on Lilly’s movement, as she walks through the park, the point of disequilibrium.
Shot Number – 7
Type: Broken Frame Shot. This was used to overlap the swings with Ace walking
past the swings.
Location: Same setting as the establishing shot.
Camera position: Eye-Level
Analysis of camera movement and action: We will
use a tracking shot within this part of the scene to
capture Ace’s movements as he walk past the swings
and aims to attack Lilly, although we show this later on in the trailer. A tracking
shot is very useful in our scene because we will be able capture his every
movement as he gets and closer to his victim.
Shot Number – 8
Type: Long shot. We will use this shot type to capture Lilly and Ace as well as the
whole setting, where both characters propose in a clear format.
4. Location: River Thames. We wanted to use this location
in particular because we felt it was such a romantic
setting, especially for a proposal.
Camera Position: Eye-Level
Analysis of camera movement and action: We will use
panning camera movement for this specific shot. This is because we want to first
of all capture the river and then turn left to capture Ace proposing to Lilly.
Shot Number - 9
Type: Low Angle. We decided to use this shot because we wanted to get a clear
focus of the character’s facial expression and body language as he proposes to
Lilly.
Location: River Thames. We wanted to use this location
in particular because we felt it was such a romantic
setting, especially for a proposal.
Camera Position: Low angle
Analysis of camera movement and action: We will
use a static camera movement. This is because we can capture a clear view of the
character’s body language.
Shot Number - 10
Type: High Angle. This shot type was essential to capture a clear view of the
female character’s happy reaction, as she is surprised by the proposal.
Location: River Thames. We wanted to use this location
in particular because we felt it was such a romantic
setting, especially for a proposal.
Ca Camera Position: High angle
Analysis of camera movement and action: We will use a static camera
movement. This is because we can capture a clear view of the main character’s
body language.
Shot Number – 11
Type: High angle. We will use this show to not capture the female character but
the atmosphere as well. The main focus why we will use a high angle shot is so
we can capture her walking through the park again.
5. Lo Location: Cedars park. This location is key for this shot
because this is the point in our trailer where a flash-
forward of the same location takes place.
Camera Position: High Angle
Analysis of camera movement and action: We will
use a static camera movement. This is because we can
capture a clear view of the main character’s body
language.
Shot Number – 12
Type: Close up. This shot type will be used to capture the prop of the phone in
particular, as well as the main character. Using this shot type will ensure that the
audience will become inquisitive on what is significant about the phone call? &
what will happen next?
Lo Location: Cedars park. This location is key for this shot
because this is the point in our trailer where a flash-
forward of the same location takes place.
Camera Position: Eye Level
Analysis of camera movement and action:
Yet again, we will use another static camera movement to capture the character’s
action as she walks through the park, holding her phone.
Shot Number – 13
Type: Long Shot. This shot will be used to capture an eye-line view of the pub
fro, over the character’s shoulder.
Lo Location: Admiral Hawke.
Camera Position: Eye Level
Analysis of camera movement and action: A static
shot is most useful in this section of the scene because
we want to capture a still image of the antagonist of the
trailer and the next location, hence adds to the disequilibrium to our trailer.
Shot Number – 14
Type: Long Shot
Lo Location: St. Ignatius Church. This location is necessary
to make our trailer a success. It is the point in the trailer
where, because it will be shot in a wedding, has the most
utopian atmosphere.
6. Camera Position: Eye level
Analysis of camera movement and action: The camera movement used will be
a static shot. This is so we can capture the character walking down the church
isle. The main focus on the protagonist and her happy moment, so a static
camera motion can portray that perfectly.
Shot number – 15
Type: Mid Shot. We wanted to use this specific shot type in our trailer because
we want to focus on capturing everyone inside the church, to make the scene
look more like a realistic wedding. As the main focus was already on the
protagonist on the previous shot, we wanted to have the chance to capture the
husband to be as well.
Location: St. Ignatius Church
Camera position: Eye level
Analysis of camera movement and action: We will
use another static shot movement because we want to
put all the focus on the protagonist and his expression to getting married.
Shot Number – 16
Type: Close up
Location: St. Ignatius Church
Camera position: Eye-Level
Analysis of camera movement and action: We
wanted to use a tilted camera movement upwards to
the protagonists’ face as the female protagonist puts
the ring on him. The main of aim of this camera movement is to clearly portray
the male protagonists facial expression.
Shot number - 17
Type: Mid-Shot
Location: Cedars Park
Camera position: Eye Level
Analysis of camera movement and action: we will use a static shot in order to
portray the female protagonist walking through the park.
Shot Number – 18
7. Type: Over The Shoulder. This was so we can have a clear view of the setting
from the view of the character. This shot in the trailer foreshadows that the
antagonist will ruin the wedding.
Location: Across the road from St. Ignatius Church
Camera position: Eye-Level
Analysis of camera movement and action: We wanted
to use a static shot so we can portray the protagonist
looking at the Church, where the wedding is set. A static shot is perfect for this
scene because all the antagonists’ energy is put on gatecrashing this wedding.
Shot Number - 19
Type: Extreme Close Up
Location: Cedars Park
Camera position: Eye-Level
Analysis of camera movement and action: The
camera movement of a static shot will be used for this
particular scene. This is so we can portray the action of stepping into the puddle,
symbolism for climax.
Shot Number – 20
Type: Low-Shot
Location: St. Ignatius Church
Camera Position: Eye-Level
Analysis of camera movement and action: We will
use a static shot in order to show the male character
standing at the wedding.
Shot Number - 21
Type: Extreme Close Up
Lo Location: Inside the Church
Camera Position: Eye-Level
Analysis of camera movement and action: We
wanted to use a static shot for this moment in the
8. trailer because the main focus is put on the candle as the antagonist puts it out.
This is effective because the candle can be shown as the happy atmosphere of the
wedding and as the antagonist puts it out, it foreshadows something bad will
happen
Shot Number – 22
Type: Tracking Shot
Location: Cedars Park
Camera Position: Eye-Level
Analysis of camera movement and action: We will use
a tracking shot to convey the male antagonist. Following
the female protagonist in the cedars park location yet
again. This is effective because from this point, the audience will begin to realize
that the antagonist will strike.
Shot Number – 23
Type: Close Up
Location: Cedars Park.
Camera Position: Eye-Level
Analysis of camera movement and action: The static
shot of the male antagonist will be used for this moment
in the trailer. This is so we can clearly capture the weapon the antagonist is
holding. This not only adds climax but adds dramatic irony because the audience
know what will happen next.
Shot Number – 24
Type: Close Up
Location: Cedars Park
Camera Position: Eye-Level
Analysis of camera movement and action: We will use
a static shot to portray the facial expression of the
female antagonist. The main focus and energy is on the
antagonist’s shocked expression so a static shot is most useful at this moment.
The effect of the static shot at this point in the trailer can make the audience feed
of the characters energy by feeling shocked as well.
9. Shot Number – 25
Type: Close Up
Location: Cedars Park
C Camera Position: Eye-Level
Analysis of camera movement and action: We will use
a static shot to capture the phone, dropping to the
ground. This is effective because the static shot
introduces the use of slow motion.
Shot Number – 26
Type: Close Up
Location: Cedars Park
Camera Position: Eye-Level
Analysis of camera movement and action: We will
us a static shot for this moment in the trailer. The
protagonist’s hand is shown laid down next to her phone. The static shot
movement is perfect for this scene because it clearly captures the damsel in
distress and reinforces the thematic issue of death.
Shot Number - 27
Type: Close -up
Location: Bedroom
Camera Position: Eye-Level
Analysis of camera movement and action: A tilt
will be used in this shot of the trailer in order to
capture lilly’s reaction and to reveal Ace atsleeping
beside her. This would create a naturalistic form
because despite her nightmare, this is the part in
which she realizes that she’s in a relationship with
the antagonist.
Shot Number - 28
10. Type: Mid-shot
Location: Bedroom
Camera Position: Eye-Line
Analysis of camera movement and action: A
static shot will be used at this specific shot because
we want to capture the “equilibrium” (Todorov)
between Lilly and Ace. A static shot puts major focus on the two characters and
connotes lustful desires.
Shot Number – 29
Type: Extreme close up
Location: Bedroom
C Camera Position: Eye-Line
Analysis of camera movement and action: A static
shot will be used in order capture Ace opening up his
suddenly to create a sense of suspense as a result of built up climax.
Shot Number- 30
Type: Extreme close up
Location: Bedroom
Camera Position: Eye-level
A Analysis of camera movement and action: A static
shot will be used in order capture Ace opening up his
suddenly to create a sense of suspense as a result of built up climax.
Shot Number – 31
Type: Extreme Close up
Location: Bedroom
Camera Position: Eye-Level
Analysis of camera movement: This is the ending of
the trailer so we will finish with the point of call.
However, we will keep a static shot of the swings in motion while using the
diegetic sound of creaking. This conveys suspense, climax and motivates the
audience to watch the trailer.
