The document outlines various shot types that will be used in a film trailer about mental health, including close-ups, extreme close-ups, tilt shots, high and low angle shots, handheld shots, point-of-view shots, tracking shots, two shots, over the shoulder shots, long shots, and extreme long shots. These different shot types will be used to highlight characters' psychological experiences, emphasize tension and confusion, show relationships between characters, and introduce settings to further the narrative. Facial expressions, angles, shaky camera movements, and character perspectives will help convey themes of mental stress, vulnerability, and power dynamics in the story.

1. SHOT LIST
BASED ON CONVENTIONS AND MY SYNOPSIS.

2. CLOSE UP
The close up will be a frequently used shot type in my trailer. This will be for the
display of character’s exteriors whilst experiencing contextual psychological pain or
a reaction to success and fame. This example from ‘mr Happy’ shows the effective
nature of the close-up when, shooting a film about mental health, with slightly
loose framing giving the shot a minimal and saddening tone when combined with
the actor’s facial; expression.

3. EXTREME CLOSE UP
The extreme close up is similar to the standard close up, yet it will usually feature
more of a focus on one thing. In my trailer this will likely be the eyes or mouth as
they shown their own specific part of facial expression. The use of a macro lens will
be needed in this type of shot to ensure detail and clarity as well as the ability to
frame the subject in an interesting way. This extreme close up is again from ‘mr
Happy’ and allows the low-key lighting of the set to create a dark contrast that
draws even more focus to facial expression.

4. TILT SHOT
The tilt shot can be used to emphasise action, confusion and the framing of
subjects. In my trailer I will likely be utilising the confusing and nauseating effect of
the tilt shot, to highlight psychological stress that characters experience and will do
so by framing subjects with varying degrees of tilt shots that can create a
progression to my narrative. Contrasting to just emphasising action like in this shot
from ‘The Dark Knight’ as this will be less relevant.

5. HIGH ANGLE/LOW ANGLE
I will be combing most of my shots together to create camera angles that will highlight
contextual parts of the narrative simultaneously. This will involve using close-ups, hand
held shots etc. at both high and low angles towards my subjects to create further
connotations about the characters and their positions in the narrative. Like these
examples from ‘The Dark Knight’ and ‘Harry Potter’, my high and low angle shots will
either display confidence and power in my characters or vulnerability and victimisation,
according to the angle of the shot.

6. HAND HELD
Hand-held shots are also used for many different reasons, yet I’ve sited an example
from a psychological thriller relevant to my own with ‘Black Swan’. Here, the use of
the hand-held camera shot, highlights the mental intensity that is supposed to be
the theme of the film, working like a tilt-shot in nauseating the audience and giving
the subjects an unstable presentation. This is a shot that can be combined with
many other types as well.

7. POV
The POV shot can help my trailer to have a relatability to the audience by showing
what a character sees. This can be used to develop a specific perception that one
character has, working in the favour of psychological thrillers where a perception
can be effected by events and mental health. This example from ‘Silence of the
Lambs’ shows the characters view to be threatened by Hannibal Lecter, heightening
the disturbing nature of the scene.

8. TRACKING SHOT
In my trailer I will use the tracking shot alongside specific editing paces to create
momentum, movement and a slow reveal of on-screen subjects. This can be used
well in certain settings such as corridors or streets to highlight the tone of the
environment, with characters being gradually tracked through low-key lit corridors,
emphasising tension. This can be used in conjunction with extreme long shots or
establishing shots to move on from setting to narrative elements.

9. TWO SHOT
Two shots are mainly used to show a relationship between two characters in a
sequence. This can be with both positive and negative relationships, displaying
friends, partners or enemies that have relevance to a storyline. In my trailer I will use
this to display the originally positive nature of the relationship that was present and
potentially the more negative and controversial relationship that develops.

10. OVER THE SHOULDER SHOT
Much like the Two shot I can use the over the shoulder shot to highlight a
relationship between two characters or two subjects. However, with this shot, more
of a focus can be put on one subject from the perspective of another. In the
example from ‘The Dark Knight’ below, the sense of interrogation is highlighted by
the view being directed towards the accused character from the aggressor. I can
use this idea to help create a perception of victimisation and aggression between
my subjects.

11. LONG SHOT
With Longshots, the whole body of a character is in frame and usually the whole
form of a subject is in frame amongst the setting. This allows for shots that give
context to and introduce sequences to be used amongst more intimate moments.
In psychological thrillers where setting is quite important and often helps the tone
of a narrative, long shots will be very useful.

12. EXTREME LONG SHOT
Extreme long shots are used primarily as establishing shots for sequences, and this
will be there function in my trailer, introducing settings across its running time to
give context to moments and further the narrative.