Reshooting

To solve the non-flowing scenes in our film, we decided to reshoot and add a few more details to make the transitions smoother and more believable. The sequence where the stalker slams Eva's car door then suddenly appears in the car would leave the audience with questions about how he got inside so quickly. To solve this, we filmed stalking sitting in the car instead of having him already inside when the scene begins. This change made the shots feel more logical.

The new clip of the stalker entering the car

The first clip we added involved showing the car door closed, then cutting to the door being opened. We filmed the stalker entering the car from Eva's perspective in the passenger seat. This angle worked perfectly to show the stalker's movement and Eva's point of view in one shot. The audience can now understand that the stalker has entered the car before he starts speaking to her, which makes the transition feel more natural. This clip will be inserted right after the stalker slams the car door in the original shot.

The new clip of the car door locking

To add more tension to the scene, we also filmed a close-up of the car door locking. The clip is a close up on the door as the lock clicks into place. This tiny but significant detail heightens the feeling of unease, and signals that Eva is now trapped inside the car with the stalker. Our sound designer is planning to add a dramatic clicking sound over the shot of the lock, creating more intensity and emphasize the moment of isolation for Eva. The close-up of the lock will be inserted after the stalker enters and car and asks Eva, "You ready?". 

These reshoots have been crucial in improving the flow and tension of our film. By adding the new shots of the stalker entering the car and the close-up of the door locking, we've not only solved the logical flaw in the scene, but we've also improved it overall. The addition of sound design elements, such as the clicking noise over the lock, will further add to the drama and suspense. Additionally, we were a few seconds short in our rough cut, and these new clips will help fill that gap while also adding to the narrative. These small but impactful adjustments bring everything together and help us with the last step to producing the final cut. 

Removing a Logo

When filming Missing Eva, we were very focused on creating the best atmosphere and getting the right shots to tell our story. But unfortunately, we had a few minor details that got passed us while filming. One of those moments happened when we realized that the stalker's jacket in a shot had a company logo on it. This logo wasn't something we had intentionally included or thought was relevant to the film. Once we saw the shot in the rough cut, it was clear that it was distracting and drew attention away from the scene. 

In the scene where Eva and the stalker are walking together, we had chosen the jacket the stalker was wearing because it was what we had on hand at the time. We didn't think much of it during filming, but after reviewing the shot, we noticed the logo on his jacket. The logo seemed like it could be important, but it wasn't intended to be apart of the story. It was just there and it became too noticeable. We feel like it distracts from the tension of the scene. 

A still taken from the shot where the logo is clearly visible

At first, it seemed like a small issue. But after watching our rough cut, we realized that the last thing we wanted was for the audience to focus on something irrelevant instead of focusing on the plot. 

After discussing the issue with our editor, we came up with a solution: using motion tracking to remove the logo from the jacket. We found a YouTube tutorial that walks through the process of motion tracking and removing logos or unwanted elements from moving objects. The tutorial seemed like a perfect fit for our problem.

Here's the YouTube tutorial we found, which could be helpful for our editor

The tutorial is focused on Premiere Pro, and while our editor is working in Premiere Rush, we thought we could still try this solution. The idea is to import the specific shot of Eva and the stalker walking together into Premiere pro, apply the motion tracking to remove the logo, and then bring it back into Premiere Rush for further editing. While this sounds like a great fix, we do have a few concerns about it. 

One major issue with this solution is the potential loss of quality during the transfer between Premiere Pro and Premiere Rush. We want to make sure that the shot doesn't become distorted or pixelated after the changes are made. The shot needs to flow with the rest of the film, and we're worried that multiple imports and exports between editing software could mess up the quality. Additionally, we're aware this is a lot of work for our editor. He will need to carefully track the logo's movement throughout the shot and ensure it's fully covered without affecting the overall look of the shot. 

It's also unfortunate that if this solution doesn't work, we won't be able to reshoot the scene. Our actress playing Eva is no longer available for filming, which means we can't go back and re-shoot for this scene. While we hope that the motion tracking works out and the shot can be cleaned up, we're preparing for the possibility that it might not be as seamless as we want it to be. 

A still of the shot with the logo removed

To give an idea of what the shot might look like without the logo, I edited it myself very quickly. While it's not perfect, it gives us an idea of how the shot will look without the distraction of the logo. As you can see, it's not the cleanest edit, but it does show how removing the logo improves the visual focus on the scene. 

Rough Cut Pt.3

Eva entering the car

The stalker's dialogue after Eva enters the car

Another shot that concerned us during the rough cut was one where the stalker slams Eva's car door and then appears in the car. After watching this, we realized there was a logical flaw. The transition looked unnatural because there was no clear explanation for how the stalker got into the car so quickly. Watching this in the rough cut made it obvious that we needed to reshoot this scene to make the shots flow more logically. We decided the best way to achieve this is to begin filming as the stalker sits in the car, instead of him already being inside. This way, it makes sense when he started talking to her, creating a better flow. 

This experience has reinforced how important rough cuts are in filming. They allowed my group to see everything come together and spot mistakes that we didn't realize were there during filming. Whether it's a shot angle that doesn't work or audio that doesn't match, the rough cut is where we could catch all issues and make necessary changes. The process of making adjustments after watching the rough cut may be time-consuming, but it's essential for making our film exactly how we picture it. 

Rough Cut Pt.2

Meeting Shot - Bad Audio

Another issue that came up during the rough cut was with the audio in the meeting scene. We filmed this shot outdoors, and although we had hoped the wind wouldn't be an issue, it seemed like the audio quality didn't match the rest of the footage. The noise of the wind was overpowering, and it didn't blend well with the cleaner audio from the indoor scenes. We had originally thought the audio would be fine in the moment, but seeing the footage all together made us realize it didn't look smooth.

Initially, we wanted to reshoot the scene with our main actress who plays Eva to get better audio. However, our actress wasn't available to shoot again before the project's deadline, so we had to come up with another solution. We decided that the two main actors could record voice memos of their lines and send them to our editor. We could then add these voice memos as a voiceover to the scene. 

This idea worked especially well for the stalker because his face isn't visible in the shot, so there's no issue with matching his lips to dialogue. But with Eva, the situation is different. In the meeting scene, we see her face clearly since it's an over-the-shoulder shot focusing on her face. With this shot, we'll have to be careful to match the voiceover to her lip movements. Our plan is to have the actors send the voice memos and see how the final scene looks when we add the new audio. If it works, we'll keep it, but if it doesn't match well, we may need to get creative with post-production editing to make it fit. 

Rough Cut Pt.1

 

Our rough cut of Missing Eva

As we work through post-production, one of our most important moments so far has been putting together our rough cut. This is a critical part of the editing process because it lets us see our film as a whole and spot anything that isn't working. In this stage of filming, we realized any mistakes we didn't catch while filming and still had time to make adjustments—whether it's reshooting a scene or adjusting audio. For my group, the rough cut was great in terms of realizing what needs to be fixed before the final cut. 

One of the first things we noticed in the rough cut was an issue with the angle of the gear shift in one of our car scenes. The gear shift was positioned in a way that looked unnatural when paired with the other shots surrounding it. It was distracting and didn't really match the visual flow we were going for. Thankfully, since we were still early in the process, we had time to decide if we wanted to reshoot the scene. We ultimately decided we want to go back and film the gear shift from a different angle, one that would better align with the rest of the footage and feel more natural with the scene. This gave us the chance to spot the small details that we could've missed. 

Implementing Crooked Letters

In one of my previous posts about The Silence of the Lambs opening sequence, I learned how filmmakers intentionally use crooked letters in the title sequence to create an unsettling atmosphere right from the opening. The skewed font sets the tone for the entire film, signaling to the audience that something is off. This visual combined with sound design can be used to greatly elevate the tension that will unfold in the story. After analyzing this technique, we realized it was something we could use in Missing Eva.

My editor was the one who implemented the cooked letters in the opening sequence. He included us in the decision-making process to make sure it aligned with our vision for the film. We all agreed that incorporating this technique could hint that something was wrong without directly showing it. The title itself, like in The Silence of the Lambs, would appear with letters that are intentionally skewed.

An excerpt from our title sequence

In Missing Eva, our storyline revolves around suspense and mystery, so the opening credits need to reflect that (even though this is shown more towards the end). By integrating this idea into our opening sequence, we've prepared for the suspenseful and unpredictable story that will unfold. The lesson I learned from The Silence of the Lambs and its intentional use of crooked letters has found its way into Missing Eva, due to successful collaboration with my group. 

Subtle Foreshadowing - Hidden Details

 As filmmakers, we found that the smallest details in a scene can have the biggest impact on the overall storytelling. We had the opportunity to plant subtle hints that not only enhance the plot but also make the audience engage more deeply with the story. In our film, we decided to include several moments of foreshadowing. One of these moments occur when Eva is in the car, talking to Sofia before her date. This scene was carefully created to subtly hint at the danger just beyond Eva's awareness. If you look, you'll notice Eva applying lip gloss in her rearview mirror. At first glance, this seems like a small, character-building moment. But as you look closer, there's something unsettling happening in the background. 

A still of Eva applying lip gloss

A still of Eva applying lip gloss with stalker circled in background

One of the challenges we faced in this scene was the camera angle. We wanted to frame the shot in a way so that Eva's face would be the main focus while still incorporating the stalker into the background. To achieve this, we worked around the car seats and shifted our bodies and the camera to get the perfect angle, capturing Eva's reflection in the rearview mirror while also positioning the stalker behind the car. It took several attempts to get the camera angle right, with the stalker barely visible in the background. 

This scene works on multiple levels. Eva's focus is on her reflection in the mirror, on preparing for her date. She is unaware of the danger slowly getting closer. Meanwhile, the stalker is introduced into the frame, not as an immediate threat but more as a shadow. This is a perfect metaphor for how stalkers can blend into the background of everyday life. The importance to this foreshadowing is in how quickly the shot happens. It's very brief, which makes it easy to miss on the first viewing. We intentionally used this approach because we didn't want to draw too much attention to it. 

By carefully constructing this shot and introducing the stalker in the background, we added foreshadowing that not only ties into the larger themes of the film but also helps to build suspense. 

Implementing the OTS Shot

As I worked through the pre-production process for our film, one of the key things I focused on was how the shots we chose could best convey our story and the emotions we wanted to create. In my pre-production blog titled "Pre-Production: OTS Shot", I discussed the Over-the-Shoulder (OTS) shot and how it could be used to connect or disconnect characters, adding suspense and tension. Now that we've began production, I want to reflect on how this research shaped our decisions and what adjustments we made along the way. 

The Over-the-Shoulder Shot: Connecting Characters

One of the key takeaways from my research into OTS shots was the idea that they can be used to create a connection between characters during a conversation. The video I referenced by StudioBinder emphasized that the OTS shot, especially in medium close-ups, can help create intimacy and build relationships through storytelling. This idea was useful for dialogue scenes where we wanted the audience to feel a bond between characters. 

However, when we applied this to our film, we faced a challenge: we needed to maintain suspense and keep the stalker's identity hidden. If we had used a traditional OTS shot with both characters clearly shown, it would have given away the identity of the stalker. Instead, we changed the OTS shot to fit our narrative. In the scene where Eva first meets the stalker on the top of the parking garage, we used the OTS shot, but only showing Eva. So, instead of showing the stalker's face, we focused on Eva's

expressions while showing a little of the stalker's shoulder. This choice was purposeful: it allowed us to keep the audience with Eva's point of view, focusing on her reactions without revealing too much about the stalker. By doing this, we created more suspense and kept the audience in question about who the stalker really was. 

The Over-the-Shoulder Shot: Disconnecting Characters

Another thing from my research was how the OTS shot can also be used to disconnect characters emotionally, rather than just connect them. StudioBinder's video explained that visual absence, whether through camera movement or framing, could create a sense of emotional isolation. In the example shown, the camera dollies in to isolate one character emotionally by shifting from an OTS shot to a close-up, which helps to intensify the emotional disconnection between them. We envisioned using this technique to build tension between Eva and the stalker, with a slow camera dolly into a close-up of her face. This would have signified her emotional isolation as she realized something was wrong and started to sense the stalker's intentions. 

How this changed in the rough cut:

In the rough cut of our film, this idea played out differently. Since Eva didn't immediately feel the threat from the stalker in their first encounter, we didn't feel the need to isolate her emotionally in that moment. Instead, we kept the focus on her face in the OTS shot, without dollying into a close-up, because Eva hadn't yet identified him as a threat. There was no emotional disconnect, so we decided to keep the shot more neutral.

OTS Shot in Action

Here's a still frame from the scene where Eva first meets the stalker on top of the parking garage. In this shot, we see Eva's face with the shoulder of the stalker subtly placed in the frame. This draws the audience into Eva's perspective, allowing them to focus on her reactions without giving away too much about the stalker's identity. This shot creates the tension we aimed for—Eva is unaware of the danger she is in, but the audience can already sense that something isn't right. The OTS shot works here to hint at the stalkers presence while maintaining the mystery and suspense that will happen as the story progresses. 

Silence of the Lamb- Opening scene

 

The Silence of the Lambs Opening Credits 

When you first watch The Silence of the Lambs, the title itself isn't striking. The letters of the title appear on the screen in a simple and clean font, but something about it seems off. The letters can be slightly crooked. This is a small detail, which can go unnoticed at first but after looking closing, you realize how essential this is in creating the eerie atmosphere in the film. At first, the text appears plain: black letters with white lining, with a forest in the background. The choice to make the title crooked is very intentional; it plays into the overall tone of the movie. 

So, why would the filmmakers intentionally make the letters crooked? The cause is to evoke discomfort and the set the audience on the edge of their seats before the film even begins. The slight distortion of the letters signals that something in the film won't be normal or predictable. This small imperfection in the font has a direct effect on the audience. When viewers see the slightly askew letter, a subconscious response begins. Our brains are wired to expect symmetry and order in our environment. When something is "off" or not right, it triggers a sense of discomfort. The title slide works with the dark visuals and sound design to amplify this unease. The crooked letters are a perfect example of how something as simple as font can shape an entire film's atmosphere. They didnt just introduce the title, they introduced the unsettling world the audience was about to view. 

After learning about this trick with crooked letters, I will be able to implement it into my film, with my editor, once we finalize all production. 

Gear Shift Shot

One important moment in our film is when the stalker shifts the car into reverse as he begins to take Eva away. We shot this with a simple top-down view of the gear shift, and after reviewing the rough cut, we realized this shot could be more effective in building tension. 

Gear Shift Shot

The original shot didn't have the level of unease and power dynamics that we wanted for this moment. So, we decided to reshoot the gear shift shot, and experiment with new angles and framing to give the scene more emotion and depth. The initial version worked in terms of clearly showing the stalkers action, but it lacked tension. With Eva sitting in the passenger seat and the stalker in control of the car, the original shot didn't fully highlight the power dynamic and emotional distance between the two characters. 

After rethinking about how we wanted this moment, we've decided to reshoot the gear shift shot with a different angle—one that will show both the stalker and Eva sitting in their seats, with the gear shift as a visual divider between them. We're planning to position the camera at a higher angle above the gear shift, so that both the characters are visible in the frame. By framing the shot in this way, we can show the physical and emotional separation between the stalker and Eva. The gear shift will be a subtle but important divider, representing the gap between the characters and highlighting the stalker's dominance over the situation. 

Example of the Color Dynamic Between Characters

Another element that is crucial to the dynamic between characters is the clothing. The stalker is dressed entirely in black, which reinforces his dark presence. His dark attire symbolizes control, power, and threat. On the other hand, Eva is wearing a pink outfit, which contrasts sharply with the stalker's black. The pink is a color associated with innocence and youth, showing Eva's naivety and the contrast between the characters. In the new angle the contrast in their clothing will become more shown as we frame them together in the same car shot. The difference in color will further show the power dynamic—that Eva is set apart from the stalker, not just in terms of space but through the contrast in their clothing. 

"You ready?"

After completing a rough cut of our film, we quickly realized that the sequence wasn't as seamless as we hoped it would be. We decided that reshooting a portion of the scene would help improve the overall look of the car scene. 

The initial version of the scene begins with the stalker closing the car door on Eva's side, which then cuts to a shot of him inside the car asking, "You ready?". The issue we had was a continuity error. When we first put the shots together, we realized that it didn't really make sense. In the previous shot, the stalker is seen closing the door, which implies Eva is already in the car with him. But then, in the next shot, the stalker is already in the car, without any view of him sitting down and closing the door. The inconsistency disrupts the flow of the scene and takes away from the meaning of the moment. 

To fix this, we've decided to reshoot the scene with a few important changes that will help tell the story and create more tension. Our new approach begins with the stalker sitting in the car and closing the door, which feels much more natural. This minor change will ensure there is no confusing about how he got into the car. Then, he will ask Eva, "Are you ready?" and she will respond with "Yeah". The new dialogue from Eva also adds to the tension, since the silence in the previous version wasn't creating tension. 

One of the main choices we've made throughout the film is to keep the stalkers identity hidden. In this scene, we want to maintain the sense of mystery by using a lower angle shot from the passenger side of the car, focused on the stalker as he gets in. The camera will be positioned low enough to show him sitting down and closing the door, but not high enough to reveal his face. This angle will allow the audience to focus on the body language of the stalker.