Filming has been completed for scene one of “Screen Three” however, there is more to be done concerning putting the final scene together and this posts is all about LOCATION. Location for a scene is key, and is a vital choice due to its effect of the audience, the atmosphere and tone of the piece. It’s important to get right and so I took the time out to do a few test shots in areas I thought had potential for my group for use for our film.
Although a Ford Escort RS 2000 will be use for the scene, I had my car play the model for my photos and first set it up amongst a local car park. The location is nice but the surroundings lack the atmosphere I end in mind for the scene. Going from such a dark room of the theatre to a sunny area might be confusing, distracting and perhaps too big of a jump for the viewer, which may distance them from what’s happening in the film. This isn’t what I want but despite this, I continued to experiment with angles.
I moved the car around to experiment with the lighting. The Sun was directly behind the car when I first set up however, I attempted shots with the Sun to the car’s side. I think this gave a nicer, more dynamic look with the shadows however, these may be a problem if they hide areas of the actor’s face.
Another issue I had premeditated concerns the car’s surroundings not being quite as I wanted. However, this can be solved with a shallow depth of field through a lower aperture. I shot these images below at F 2.2 and to balance the exposure I set the shutter speed dramatically fast, but it looks like it works to some-what hide the background and focus on the foreground of the car.
Next, I moved location to a more industrial side of town. I really like the atmosphere within this area as it seems to add to the isolated atmosphere I wanted for the scene through the tall fencing and the structures in the background that seem to tower over the vehicle.
With this location I also admire the position of the Sun as well as the effect of the fencing as it casts shadows over the car’s interior to suggests something more sinister or perhaps underhand; a technique often used in film noir.
I then tried out another location and tested a variety of lenses to experiment with the look of shots. I had been using a Canon 50mm prime lens however, I whipped out a Tamron 55-200mm zoom lens to see how certain close-ups might look. The Tamron lens has can’t achieve a very wide aperture which is a problem in getting the right exposure but it’s certainly a lens to use for a isolated, caged-in scene like this one.
The Tamron – AF 55-200mm F/4-5.6 Di II LD MACRO Lens.
The Canon EF 50 mm f/1.8 II Lens.
I then went out to shoot some night photos in similar locations. I really wanted the scene to be at night to capture the dark tone of the film but it will make things increasingly difficult due to light and to shoot at a high quality.