In this section I'll provide proof of using the four required techniques through screen grabs of the edit.
P.O.V
We used a large number of both POV's and false POV's, due to the 'stalker' theme we chose to base the film on, we felt that the use of the false POV would be as poignant, if not more, as a real POV.
False POV;
These shots were designed to confuse the audience, by using a slow track towards the character (as can be seen in grab one & two) it's suggested that the killer is being crept up on. By then reversing the shot, revealing an empty space, keeps the audience guessing as to who is watching and where they are. By repeating the tracking shots (one & two) we hoped to suggest its the same stalker. Example three is the most obvious POV, despite it being a false one, its the closest we went to a fully 'conscious' POV, meaning it represents entirely a characters consciousness.
POV;
These are all POV's of an actual character within the film. Examples four and five are straight forward POV shots of the killer as he scans the crowd for a victim. Examples six and seven aren't as clear, the fact that in six our actor looked into camera, the audience may be expecting this to be the POV of the established killer. As the camera pans further however it reveals the killer stood in front of the camera then as the killer walks toward his next victim the the camera tracks behind, following him. While this may confuse the audience as to who's POV they are watching, all is revealed when after the attack takes place a reverse shot reveals a third character peering around the corner. This establishes the fact that the audience have been watching this third characters POV.
Colour/Lighting;
We utilized the colours red and blue in order to establish a mood and help explain the narrative without the use of dialogue.
We used blue when the stalker was present to suggest a sad and lonely existence;
These shots (above) are meant to be reminiscent of Chan-wook Park's visual style in his Vengeance trilogy. The stylised lighting, the gritty locations and dark costumes all come together to create, in my opinion, two very interesting shots.
Shot twelve was an interesting shot to compose as it was very hard to capture the hammer being raised whilst leaving framing him correctly, in thirds, left of the frame. To get around this, we used the already present Dedo lighting kit to project a definitive shadow of the hammer on the wall behind him. Through this, the action is more suggestive and left somewhat to the imagination, a far more frightening tool than watching reality.
The screen grabs below illustrate how we have matched elements of colour shot by shot, centering the audiences attention on a part of the frame that is then replaced with an image of violence.
This creates sharp contrast between the scenes of beauty with the scenes of death,
P.O.V
We used a large number of both POV's and false POV's, due to the 'stalker' theme we chose to base the film on, we felt that the use of the false POV would be as poignant, if not more, as a real POV.
False POV;
 |
| One |
 |
| Two |
 |
| Three |
These shots were designed to confuse the audience, by using a slow track towards the character (as can be seen in grab one & two) it's suggested that the killer is being crept up on. By then reversing the shot, revealing an empty space, keeps the audience guessing as to who is watching and where they are. By repeating the tracking shots (one & two) we hoped to suggest its the same stalker. Example three is the most obvious POV, despite it being a false one, its the closest we went to a fully 'conscious' POV, meaning it represents entirely a characters consciousness.
POV;
 |
| four |
 |
| five |
 |
| six |
 |
| seven |
These are all POV's of an actual character within the film. Examples four and five are straight forward POV shots of the killer as he scans the crowd for a victim. Examples six and seven aren't as clear, the fact that in six our actor looked into camera, the audience may be expecting this to be the POV of the established killer. As the camera pans further however it reveals the killer stood in front of the camera then as the killer walks toward his next victim the the camera tracks behind, following him. While this may confuse the audience as to who's POV they are watching, all is revealed when after the attack takes place a reverse shot reveals a third character peering around the corner. This establishes the fact that the audience have been watching this third characters POV.
Colour/Lighting;
We utilized the colours red and blue in order to establish a mood and help explain the narrative without the use of dialogue.
 |
| eight |
 |
| Ten. The increasing red light, symbolic of anger |
 |
| Eleven |
We used blue when the stalker was present to suggest a sad and lonely existence;
 |
| Twelve |
 |
| Thirteen |
These shots (above) are meant to be reminiscent of Chan-wook Park's visual style in his Vengeance trilogy. The stylised lighting, the gritty locations and dark costumes all come together to create, in my opinion, two very interesting shots.
Shot twelve was an interesting shot to compose as it was very hard to capture the hammer being raised whilst leaving framing him correctly, in thirds, left of the frame. To get around this, we used the already present Dedo lighting kit to project a definitive shadow of the hammer on the wall behind him. Through this, the action is more suggestive and left somewhat to the imagination, a far more frightening tool than watching reality.
The screen grabs below illustrate how we have matched elements of colour shot by shot, centering the audiences attention on a part of the frame that is then replaced with an image of violence.
This creates sharp contrast between the scenes of beauty with the scenes of death,
 |
| Fourteen |
 |
| Fifteen |
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