Pre-Production: OTS Shot

 As the cinematographer, one of my main responsibilities is deciding which shots will best convey our story and the emotions we want to achieve. With the main concept surrounding stalking and kidnapping, the way we frame the shots in crucial to creating the right atmosphere. Recently, I did some research into the over-the-shoulder (OTS) shot, which is a technique we'll be using throughout our film. I watched the YouTube video "The Over-the-Shoulder Shot in Film (and How to Shoot a Dialogue Scene)" by StudioBinder, and it provided a lot of helpful ideas on how to use this shot to shape the tone of our film. 

"The Over-the-Shoulder Shot in Film (and How to Shoot a Dialogue Scene) by StudioBinder

Key Points I Took Away:

1. Connect Characters with the OTS Shot

One of the first points the video touches on is how the over-the-shoulder shot can be used to connect characters during a conversation. The video shows how an OTS shot—specifically a medium close-up—cuts back and forth between two characters in dialogue, creating a sense of connection between the two characters. It's a shot often used in conversation scenes to show the relationship between the characters.

How This Applies to Our Film:

While we liked the idea of using OTS shots for the back and forth between characters in dialogue, we decided to edit this technique to fit out film better. In our case, we're trying to hide the identify of the stalker to maintain suspense and isolation. If we showed the stalker's face in an OTS shot, the audience would immediately know who they were, and the tension would be lost. 

Instead of using a traditional OTS for both Eva and the stalkers conversation, we plan to use the shot for just Eva. We'll show the shoulder of the stalker, with the shot focusing exclusively on Eva's face. The point of this is to show Eva's emotions and reactions during the conversation without revealing too much about the stalker's identity. This will create question around the stalker while maintaining the connection between Eva and the audience, which will keep them on their toes as she encounters the stalker. 

2. Disconnect Characters Using the OTS Shot

The second point discussed in the video is how the OTS shot can be used to disconnect the characters emotionally. The video explains that introducing any visual absence—whether it's through camera movement or specific framing—can create a sense of emotional disconnection. The example shown was achieved by dollying in, moving the camera closer to the character, and transitioning from an OTS shot to a close-up of one of the characters. This shift shows that the characters are no longer on the same page emotionally, which helps build tension in a scene. 

How This Applies to Our Film:

This technique will be very useful for disconnecting Eva from the stalker in our film. For example, we can start with Eva looking at the stalker with a look of almost confusion or fear (she's never seen him in person until their encounter at the parking garage). But as the scene progresses and she starts to get a sense of unease, we could dolly forward into a single close-up of Eva. This creates the feeling of emotional isolation, like she's trapped in her own close-up—separated from the stalker emotionally. This shift in framing can show that the initial connection between them breaks a little bit, and Eva is becoming increasingly nervous.