FOOTAGE CONVERSION

Canon 305 Conversion

The images on the right display the conversion process of the Canon 305 footage. Because the footage was displayed in an MXF format, I had to run the footage through 'XDCAM CONVERTER' and follow the same process I did last semester for 'Into The Woods' -

File - add source - add files

Hold shift and select the clips

Select all the clips in the window so they’re highlighted blue - import

Open FCP

File - import - SONY XDCAM -

import (XDCAM FOOTAGE \
CONVERTER)

_________________________________________________________________________________

Sony FS700 Conversion

The conversion and logging process has now been completed. The image below shows I imported the Sony FS700 footage into Final Cut Pro 7 (FCP7 - File - Log and Transfer). The conversion took approximately 90 minutes after an initial slow start. I was going to log the footage from the Canon 305 whilst the conversion for the other camera was taking place, however I thought this may potentially slow the conversion process down so I left it alone until the conversion had finished.

I will now begin to log all the footage.

FOOTAGE TRANSFER

The footage has been handed over to me and I have transferred it all onto my external hard-drive. I have spent the afternoon looking through the footage whilst tomorrow will primarily involve the conversion of the footage.

The footage from the Sony FS700 appears to currently be in the same format as the camera we used last semester for our production 'Into The Woods' (it is only playable through VLC player software). To convert that footage into a workable format for FCP i ran the footage through XDCAM CONVERTER and opened the converted footage in FCP7. I believe I will have to do the same for the FS700, however I will double-check with my tutor before undertaking the task.

I am currently unsure how to convert the footage from the 305 camera, as the format is different to the other camera and all the clips open up via Quicktime.

After the conversion process has been completed, I will spend the following day logging the footage in preparation for the edit.

In the last couple of years, I have earn the importance and time needed to transfer, convert and log footage before working. It has taught me to allow a significant amount of time to do this before any real work can be undertook.

TIMING & SHOCK CUTS

TIMING

"One element of pace is the timing of particular shots. Where in a sequence should a particular close-up or cutaway be positioned for maximum impact? The editor's understanding of the purpose of the sequence as a whole helps them make these decisions."

This is one of the main questions I always ask myself whilst editing a scene. How long is too long when holding on a certain shot, what should I cut too next and why? It all depends on the intended effect on the viewer, how do I want the audience to perceive this scene, what emotions/effects do I wish to convey?

"The purpose of the sequence might be exposition or characterisation. Within these broad categories, the editor must decide how much visual and aural explanation and how much punctuation are needed to make the point."

Exposition is the conveying of information that an audience needs to know. This can be done through the use of dialogue between characters, narration, flashbacks, montages, interviews, archive footage, showing objects within a room, body language from characters etc.

For our production, I believe less exposition the better. I want to keep the audience guessing throughout the piece by not revealing everything all at once. I want to drip-feed them slowly until the intensity increases towards the end of the film.

SHOCK CUTS

"Shock cuts, as opposed to jump cuts, engender actual jumps, physical disturbances or agitations in spectators due to a violent rupture in the diegesis."

This is most commonly achieved by juxtaposing two very different distinctive shots alongside one another. The first for example promoting peace and calmness after a build up in tension, and the second an entirely contrasting shot (often combined with sudden, loud, jarring sound effects) such as a man bursting through a door wielding a knife.

"A shock cut denotes a swift and jarring juxtaposition of two shots whose visual incongruity hinges on a profound contradiction: the intrusion of new narrative information as well as a temporal and/or spatial gap in a story's unfolding."

The shock cut also acts as a transition, it can help progress the narrative and move-forward the scene into a different direction. In a sense, it is another way of using a cutaway or transition. A shock cut in horror films is one of the most effective ways to change the pacing/intensity of a scene. In my opinion, this is a great way to provoke reactions from the audience.

I intend to use the shock cut in a slightly different way to what I discussed above for our film (Home Away From Here); I intend to experiment intercutting shots of Jack being tortured with exterior shots of the run-down house. Jack's screams will cut-out instantly as the exterior shot(s) appear, promoting a greater sense of fear and eeriness, emphasising the fact that Jack's scream can't be heard, and he can't be helped... he is alone and there is nothing, and no one can do about it. I always stick by the 'less is more' rule believing that the less you show of something, the greater the effect. It makes the audience use their own initiative and further gets them lost/involved within the world of the film.

Shock cuts don't have to involve something an audience will perceive as 'shocking' or 'disturbing' e.g. a murderer/monster. But instead an image that alters the field of play, something different to the shot prior.

REFERENCE(S):

DANCYGER, KEN, (2007), The Technique of Film and Video Editing: History, Theory, and Practice. Oxford, USA, Focal Press.

HANTKE, STEFFEN, (Ed), (2004), Horror Film: Creating and Marketing Fear. University of Mississippi, USA.

THE PICTURE EDIT & PACING

"All sequences are shaped for dramatic effect. Variation in pace guides viewers in their emotional response to the film. More rapid pacing suggests intensity, slower pacing, the reverse."
DANCYGER, KEN, (2007), The Technique of Film and Video Editing: History, Theory, and Practice. Oxford, USA, Focal Press.

Whilst this is true, I believe modern day editors and their editing techniques with the use of new technology are no longer strictly confined to these traditional, stereotypical ways of working. What I mean by this is for example the use of rapid pacing/cuts connotes intensity, however there are many films that have proven that the use of long-takes/minimal cuts, can still have the same intense effect on the viewer.

I believe there is more than one way to convey intensity through the use of editing. A long-take of a torture/action scene can have more of an impact on the audience than the same scene shot from different angles and cut together sharply/rapidly. The use of rapid pacing does indeed create intensity and sometimes disorientation, it almost puts the audience in the mind/body of the character(s) on-screen. However the use of long-takes can create feelings of prolonged fear and a sense of a 'never-ending' scenario (in the context of horror/torture/action).

It's often hard to put into words how something on-screen can convey certain thoughts and emotions to the recipient in terms of it's editing style. I believe it's possible to edit a scene in a variety of different ways to achieve the same sort of effect intended on the audience, it's up to the editor/director to decide which way best portrays it.

As discussed in earlier posts, Jordan and myself have decided that in some of the torture scenes, we will rely primarily on long, static takes rather than cutting together many different shots to achieve the same 'shocking, discomforting' effect. We in-fact believe that by holding on a shot of the action unfolding on-screen from the corner of the room, will have more of a disturbing/eerie effect on the audience than juxtaposing many shots together in the same scene. This again, relates back to the 'fly on the wall' concept that was discussed during many group meetings.

I have been informed that some of the torture shots of Jack being tied up on the bed has been shot in a way that blurs out the characters on-screen and instead focuses on a random object in the room. This will (in my opinion) flourish a sense of eeriness and uncomfortableness; why can't we clearly see the action unfolding on-screen? Why are we focused on an object rather than the characters? What does this mean? It will trigger the audience's own imagination and heighten their other senses e.g. hearing. As discussed before, the use of sound in these scenes/long-takes will be one of the primary elements in creating fear/empathy for the main protagonist.

The following clip is from an Asian extreme film 'Only God Forgives'  



https://www.youtube.com/watch?v=MQoxB4zKwHA&feature=player_embedded#at=22 (Last accessed 25/03/14)

This short clip features a man being tortured, however the main emphasis in this scene is on the reactions of the people around him. The edit cuts to various members' responses sat around the room, instead of focusing on the violence itself and 'spoon-feeding' the audience. The intense sound of the man screaming in pain allows the audience to imagine the pain he's going through. Only short bursts of actual torture are shown through the 5 minute clip.

I particularly enjoy how the scene is shot in a peaceful, cinematic way. It completely contradicts the events taking place in the world of the film. The static, long-take pacing combined with the shrieks of the man being tortured create an intensely uncomfortable and thought-provoking scene. This in my opinion is a more effective/original/visually and orally striking way of shooting a torture scene.

Over the past few years of studying Film at Hallam university, I have learnt and began to stick by the 'pinch of salt' concept; not to spoon feed the audience, always ask the audience questions rather than giving the audience what they want straight away. By asking the audience questions, it will keep them watching and engaged within the world of the film.

FILM POSTER

A first-draft poster has been created by Amy (our art director) for the film. As first drafts go, I personally like it, however I believe the following changes should be made for the final poster:

• TITLE FONT - A different title font should be used as i think the current one looks fairly unprofessional. The style of the font perhaps suits our genre of film, but I believe there are other fonts out there capable of producing a more visually striking title.

• CREDITS - The credits need brightening up as they are currently virtually unreadable.

• TAGLINE - I can't decide whether or not the tagline for our film is corny. During the edit as a group we will discuss other ideas.

• PICTURE - The contrast of the white title against the dark image I think is highly effective. Blackness connotes an element of fear/horror. I believe we should continue to have this as a basis for our poster, but we could potentially change the picture to one of Jack, on his own, looking up at the run-down house. By having this, I believe it will raise many questions:

Who is this boy?
What is he doing?
Why is he alone?
What is this house?
Is he fleeing, or approaching the house?

I have being examining various horror film poster designs -

 

 

Each of the following elements are all well-known techniques used to creating an effective, 'stereotypical' poster for the horror genre.

• The use of mist
• Solitary landscapes - long roads, dark/eerie woodland
• A lonesome silhouetted figure
• 'Scratch-like' fonts/effects
• The use of red to connote blood/death
• Chiaroscuro lighting (the use of black against white)

These posters raise many questions, and I will attempt to apply these elements into the edit (the use of font, visuals effects, expansive landscapes etc).

THROAT-SLIT EFFECT

The final scene of our piece will show James ending his own life with one quick slash of a knife across his neck. Jordan (director) and Amy (art director) have both been researching the best way in which to achieve this effect without it looking amateur & fake. The video below shows a fairly simple, cheap and effective way to achieve this.

We have been debating whether or not to have James crash to the ground in slow-motion, however there is a fine line between us being able to pull it off or it looking cheap and somewhat comical. According to the list (also shown below), James slits his throat, falls to his knees and a crane/birds eye shot follows, ending the film. After envisioning this scene play out in my head I believe they have chose the correct way of shooting the scene, I am also able to picture how the edit will unfold and I believe slow-motion is not needed... this is how I intend to cut together the sequence, however the final result may change after reviewing the footage/experimenting with it.

Throat-slit shot - Quick and fast, played at normal speed
Long shot from behind Caine & Myra - played at normal speed
Mid/eye-level shot of James - played at normal speed & hold
Crane shot of James - if the shot itself is slow and elegant enough, I will not alter the speed. If the shot is fast and doesn't match the tone of James' life ending, I may reduce the speed of the shot to achieve a slower, more ambient/atmospheric ending.

Shot-list for the ending of the final scene.

https://www.youtube.com/watch?v=12R2FOgBywY (Last accessed 19/03/14)

RANDOMNESS & PACING

After many production meetings with Susanna, she always expressed the effectiveness of cutting to 'random' shots whilst a torture sequence is taking place. It puts the audience on-edge and makes them ask "What's the meaning of this/why are we looking at this... what's going to happen next?". Before Susanna brought this up I have always admired the use of this technique and the effect it has. I have applied it to past work and feel more confident with using it in our production.


THE POSSIBILITIES OF RANDOMNESS UPON PACE

"One of the remarkable elements of editing is that the juxtaposition of any grouping of shots implies meaning. The pacing of those shots suggests the interpretation of that meaning. The consequence of this is seen in microcosm when a random shot or cutaway is edited into a scene: it introduces a new idea. This principle is elaborated where there are a number of random shots in a scene. If edited for effect, the combination of shots creates a meaning quite distinct from the sum of the individual parts. This shaping is, in effect, pure editing."

DANCYGER, KEN, (2007), The Technique of Film and Video Editing: History, Theory, and Practice. Oxford, USA, Focal Press.

I think the overall meaning of this is that any shot within a film can create meaning. If you were to throw in 'random' shots that can sometimes break up the pacing entirely, it creates a new idea depending upon the context of the scene itself. 

For example in our film, focusing on the bedroom scenes and the torture scenes, Luke will be shooting certain cutaways that I will place into the edit to break up the pace/meaning of the scene. He may set the camera down on the floor and focus on a dirty, broken skirting board or object on the floor, that may symbolise the way the family are, how they live, their beliefs etc all the whilst the action is unfolding in the background, (this is where the use of sound will be utilised greatly).

I am still beginning to understand the proper meaning of this technique despite reading the passage shown above. After seeing many films and how they use cutaways, I think the primary use is to adjust the pacing of the piece. Whatever cutaways are used, I believe the audience link the images to the genre/style of piece they're watching.

I'm looking forward to experimenting with the footage I have at my disposal during the edit process, once filming has come to an end.

REFERENCES - 

http://www.dailymail.co.uk/news/article-2316987/Photographer-Niki-Feijens-eerie-images-abandoned-farm-houses.html (Last accessed 05/03/14)

SNOWTOWN - TORTURE SCENE

SNOWTOWN (2011), directed by Justin Kurzel is based on true events about a young 16 year old boy who falls into the wrong group of people/neighbourhood in Australia. The relationship that leads to a spree of torture and murder.

http://www.imdb.com/title/tt1680114/ (Last accessed 17/03/14)

The short torture scene I will discuss shortly takes the 'less is more' approach.

As discussed in a separate post, we aim to edit the torture scenes in a minimalistic way. To do this I will hold on certain shots to increase the intensity and allow the audience to focus on the action unfolding on-screen. We have also discussed relying heavily on sound rather than the action on-screen. For example in some scenes, we will take the 'fly on the wall' approach and I may decide to hold on a shot that focuses not on the action, but an object in the rom. This allows the audience to listen to the sounds in the room rather than displaying the action exposition-ally. I believe a person's imagination is more menacing than giving the audience what they want. This is some-what apparent in one of the Snowtown torture scenes.  

                     

 Handheld shot showing a man listening to two men grabbing a man and taking him into the bathroom. The shot is held for a long period of time to make the audience picture in their own mind what's going on. The two men come into frame, push the man's face against the door frame and take him in the bathroom.


The main protagonist enters the shot and we see how the action is affecting him. The shot holds. Diegetic sound is used throughout the scene to make the audience feel completely grounded in the situation. Non-diegetic sound on the other hand e.g. soundtracks, can often tell the audience how to feel/react.

The editor then cuts to another hand-held shot of the two men chaining the man up in a bathtub. They proceed to tie his legs together and kick him in the chest.

Before the torture begins we cut back to the corridor shot of the man in the far-end room. He walks over to the television and turns the volume up as to drown out the cries from the bathroom. This subtle but effective technique creates an uncomfortable, eerie situation.

Quick-cuts are used to display the pair pulling a toe-nail from the man's foot, but the primary technique used in this scene is the use of sound.

After the torture has taken place, the camera cuts from inside the house to exterior shots of the area. In my opinion these shots give the audience a 'break' from the events that have just happened. They allow the audience to absorb everything and reflect on it. Once again, the sound is purely diegetic (sounds within the world).

Taking this scene onboard and applying it to our production, it has made me think about the benefits of holding on certain shots, I believe it is far more effective and harrowing than performing quick cuts throughout a (torture) scene.

Snowtown. Directed by Justin Kurzel. Distributed by Madman Entertainment, (2011) DVD.

EDITING WITH SOUND

When we first started the production process of this project I thought back to the original Texas Chainsaw Massacre (1974) and have done since. From the isolated, desert like location, the old run-down house to the opening soundtrack/sound effects that run throughout the film.

The video below features the opening soundtrack to The Texas Chainsaw Massacre.

              https://www.youtube.com/watch?v=L0LfXFWbrrM&feature=player_embedded#at=11 (Last accessed 10/03/14)


The effects/emotions this soundtrack has on an audience are in my opinion 'long-term'. What I mean by this is, after years of seeing the film i immediately recognised the soundtrack and linked it to this film, I believe it's iconic. The effects/sounds use are incredibly eerie, edgy and almost 'cut' through the audience's mind. The sounds portray fear, enigma and eeriness. From the creaks and off-key echoes that stick in your mind, to the untimely symbols that throw any chance of a rhythm off-track.

I have spoke to Joel (the sound-designer) and he has began to produce soundtracks that follow the same theme of this film. In terms of where I would like these sound effects to be in my piece, will of course depend on the footage I have my disposal... After reading the script, I believe this sort of soundtrack belongs in the cutaways e.g. the slow-track down the corridor to the wooden door at the end, still shots of the house itself to raise the tension for the audience, the dream sequences to help distort the imagery or when James is by himself in the bedroom/corridor.

Til this day I have always pictured our film to the likes of Texas Chainsaw Massacre, however it's a shame we don't have the time, experience nor' budget to find such an appealing location with the correct miss-en-scene, and the right characters to fill the space. This doesn't however mean we won't be able to pull off the desired effect we wish to achieve. The location we have secured is a holiday lodge located down a country road on the edge of the Peak District. The house is indeed, isolated. After Luke viewed the place he discovered an abandoned farmhouse/barn further down the road, and we have decided to shoot the exterior footage at this location, with the interior footage being shot at the lodge.

A daunting looking house with vast, expansive open land portraying a sense of solitude/isolation.

I pray the footage will be convincing enough to the audience that the house is the same one and wasn't shot at two separate locations. I'm currently unsure on how to edit this together, as we have one scene in which James runs out of the house. Perhaps I will have to jump-cut to him stumbling off the porch and not going psychically through the door as we don't have proper access to the abandoned building.

I will be collaborating with Luke throughout the editing process to discuss colour correcting each shot. I would like to create an almost grainy/gritty effect to the piece, incorporating a lot of greys and browns, I feel this would help compliment the piece in terms of further pushing the idea of a dark and sinister world.

FLASHBACK - DEXTER

Below is a scene from the American TV series Dexter which features a flashback scene to when Dexter discovers/remembers how his mother was brutally murdered. It has given me inspiration/ideas for the dream sequences James experiences in our film.

                                        https://www.youtube.com/watch?v=6tQr03FMuvg (Last accessed 06/03/14)


The use of editing in this scene emits strong emotions to the audience and helps them sympathise with the main protagonist, Dexter. This is achieved through the use of quick-cutting, echoes, a melancholy soundtrack, sharp child screams, screen-flashes and the use of cutting back to Dexter to show his facial expressions/body language.

Before the flashing imagery of Dexter's past appear on-screen, the camera tracks around the main protagonist that makes him appear lost and confused. We focus on his facial expressions, this makes us connect to the character on an emotional level.

A melodic, melancholy piano soundtrack plays, further telling the audience that we should be empathising with this character.

Images of Dexter as a child pursue; quick, flashing shots of that dreadful night his mother was brutally murdered by a man with a chainsaw. Shots of his mother in pain follow including a blood-soaked corpse on the floor.

Each shot itself is made to be disorientating through the strong use of white-flashes and a handheld camera. Both which go hand in hand with the imagery on-screen.

The use of flashing imagery continues, as does the soundtrack, echoing and a child's scream (something no person/mother ever wants to witness). A child's scream is unnerving in its own right and the use of them in horror films especially, is often done in a way that makes the audience feel uncomfortable. As adults we see children as the innocent, but in horror films they often portrayed are demons. In this case however, Dexter is fragile, covered in blood and helpless. A close-up of Dexter's (child) face is shown in this sequence, probably to push the audience's emotions.

POVs of (present) Dexter looking around the empty room put the audience in his shoes and high shots of (present) Dexter make him appear small and weak.

The editing in this short sequence is quick, snappy, and focuses heavily on the use of sound to portray emotion.

I have learnt that as obvious as it is, each style of editing tends to match the pictures on-screen. For the torture scenes in our film, I have been looking at Korean films and their use of editing violence on-screen. They in fact go against the traditional, 'stereotype' of horror editing (as do many other films, not just Korean ones) for example holding on one, long-shot from the corner of a room on the action, as if the audience is a 'fly on the wall'... I will be discussing these other styles of editing at a later date.

TILT-SHIFT EFFECT

I soon discovered that this camera-shift technique is often confused with the tilt-shift camera effect, which transform your images into a miniature, model-like effect. This effect can be achieved through the use of a certain camera lens or by using Final Cut Pro and Motion 5 together.

The Sandpit from Sam O'Hare on Vimeo. (Last accessed 01/03/14)


After viewing the video shown above, I asked myself how is this effect achieved and came across this short tutorial on how to best achieve the technique through post-production. This video demonstrates how to reach the required effect without the use of a tilt-shift lens.



Realistic Tilt Shift Effects with Final Cut Studio and Motion 5 - TUTORIAL from Dennis Steib on Vimeo. (Last accessed (02/03/14)


Myself and Luke (the cinematographer) have yet to discuss this technique as I believe we will be sticking to the camera-shift technique discussed earlier. Before undertaking this production, I had heard or seen of such effects but never knew how they were achieved. After researching both techniques it has broadened my knowledge and understanding of creating effects with a camera and/or post-production software. I look forward to discovering many more techniques used in the industry, to achieve certain effects that change the audience's perception of a piece. Taking these techniques into consideration will enable me to go down the most effective route to achieve the striking, unsettling piece we wish to reach.

CAMERA-SHIFT TECHNIQUE

Whilst discussing the variety of camera and editing techniques we could use for the 'dream' sequences in our final film 'Home Away From Here', myself and Luke referred to the technique used in 'Bring Me The Horizon's' music video Shadow Moses. 

We felt the idea of a two-camera set-up would be an effective technique to use in our film. It would clearly help differentiate the present from the past, giving the audience a dreamy, 'trippy' and perhaps nauseating effect.

The video below best demonstrates this technique.

                          http://www.youtube.com/watch?v=-k9qDxyxS3s&feature=kp (Last accessed 01/03/14)

How to achieve this technique requires two (or more) cameras on the same rig, aligned next to one another at a slightly different angle, with the same focal point. During the edit you switch between the two cameras to create the effect.

"There's a lot of technical work connected with this technique this but probably the hardest part is to track the focal point in the post-production as in most of the shots the camera or/and the actors are in movement and there's a new focal point every frame."

http://www.promonews.tv/videos/2011/09/02/mint-julep-aviary-nice-idea-every-day (Last accessed 01/03/14)

After looking into this technique further independently, I looked at more videos containing the same technique (shown below)

Mint Julep »To The Sea« from A NICE IDEA EVERY DAY on Vimeo.
(Last accessed 01/03/14)



Mint Julep »Aviary« from A NICE IDEA EVERY DAY on Vimeo.
(Last accessed 01/03/14)


After researching more into the camera shift technique I discovered that this signature technique is Berlin based duo A Nice Idea Every Day's work. They apply this technique to a lot of their work and are well-known for creating music videos.

http://www.promonews.tv/videos/2013/01/30/bring-me-horizon-shadow-moses-nice-idea-every-day (Last accessed 01/03/14)

I particularly enjoy this shot, as the house/exterior shown on the left is the sort of image I envision for our piece when James looks out of the window.

If we choose to do this effect, we may also be placing an old laptop screen over the camera lens to achieve a blurry, distorted, discoloured effect. I believe this will reduce the amount of after-effects I have to add-on to each 'dream shot' during post-production, as the initial result looks striking.

The video to the left demonstrates this effect using a translucent material to create a warped effect.

Colour, washed out effects and vignette will be added during the edit to finish off the dream effect.

HOME AWAY FROM HERE - SHOTLIST

Below is the shot-list Jordan Deakin and Luke Harrison have created for our final film 'Home Away From Here'. During the edit, I will use this shot-list as the main structure for the edit. I will apply these shots in a similar order for the rough edit, then further adjusting it accordingly as the editing progress continues. 

SHOT LIST: Home Away From Here

SHOT NUMBER	SCENE	ACT	LOCATION	TYPE AND DESCRIPTION OF SHOT
1	1		Lake	L/S of character by edge of lake. Slow track in. (master shot, play out full scene)
2	1		Lake	Static wide of surrounding environment (pickup).
3	1		Lake	C/U, water lapping up to James’ face.
4	1		Lake	Mid/Close, Jarring angle, James shielding eyes.
1	2		Woods	L/S, James walking through woods.
2	2		Woods	C/U, track James’ hand to wound, shift focus.
3	2		Woods	Mid, shoulder rig, all dialogue.
4	2		Woods	Long, static, all dialogue.
5	2		Woods	Mid, track body, arm to face, shift focus, James’ swaying.
6	2		Woods	L/S, James falling.
7	2		Woods	C/U, track along body to feet. Boot comes into shot. Drag James off cam.
1	3		Dream Sequence	Slow track to window.
2	3		Dream Sequence	Long, static, child by lake.
3	3		Dream Sequence	Long, static, child by bed.
3	3		Dream Sequence	Long, static, child in corner of basement.
1	4		Bedroom	Mid, James wakes, sits, feels wound.
2	4		Bedroom	L/S, James wakes, sits, and feels wound.
3	4		Bedroom	C/U, raising hand to feel wound.
4	4		Bedroom	Long, James stands. Pan as he walks to door.
5	4		Bedroom	Mid, turning handle of the door.
6	4		Bedroom	Long (master shot) full scene.
7	4		Bedroom	Mid, James dialogue, full.
8	4		Bedroom	Mid, Myra dialogue, full.
9	4		Bedroom	Mid, James in bed.
10	4		Bedroom	L/S, James stands, approaches window.
11	4		Bedroom	Mid, directly behind window as James stands near. (Alternate) Crane up track James and focus out of window.
12	4		Bedroom	Static, out of window, focus on Gideon. Quickly shift focus as Gideon looks towards cam.
13	4		Bedroom	Back to long, corner, show James falling.
14	4		Bedroom	Over shoulder track of Myra as she enters room and looks at James.
15	4		Bedroom	Back to long. Master shot.
16	4		Bedroom	Shoot dialogue shots of Myra.
17	4		Bedroom	Shoot dialogue shots of James.
18	4		Bedroom	Dialogue shot from James POV on Myra as she looks at window.
19	4		Bedroom	Back to long, corner.
20	4		Bedroom	M/S, follow Myra to door, hold.
21	4		Bedroom	M/S, close to wall, hold on James as he bangs on door, and slides down to lean against it.
22	4		Bedroom	M/S, directly in front of James.
23	4		Bedroom	L/S as James walks to window.
24	4		Bedroom	Over the shoulder, focus out of window. Stay on James. One-shot turn to reveal Gideon + Caine.
25	4		Bedroom	Focus on object in room, foreground. Background, out of focus, scuffle between characters. Hold.
26	4		Bedroom	M/S, James now restrained in bed.
27	4		Bedroom	L/S, behind Caine, looking into the room. Standing at the doorway. The door shuts and the screen to black.
1	5		Dream Sequence	Slow track down corridor.
2	5		Dream Sequence	M/S + C/U, scolding of arm
3	5		Dream Sequence	M/S, caning of child’s back.
4	5		Dream Sequence	L/S + M/S + C/U, child standing in with outstretched arms.
1	6		Bedroom	Static POV, looking at Myra sat at the foot of the bed, Caine standing beside with hand on shoulder. Gideon and Tabitha stand together at the other side of the bed.
2	6		Bedroom	C/U of objects in the room.
3	6		Bedroom	Mid, on James as he wakes/shuffles in bed.
4	6		Bedroom	L/S, behind the family, FULL SCENE.
5	6		Bedroom	C/U, wrists restrained.
6	6		Bedroom	Mid, angles shot, FULL SCENE.
7	6		Bedroom	Mid, low angle looking up towards Myra, FULL SCENE.
8	6		Bedroom	C/U, Myra, FULL SCENE
9	6		Bedroom	Mid, low angle up to Caine, FULL SCENE.
10	6		Bedroom	Mid, low angle up to Caine, FULL SCENE.
11	6		Bedroom	C/U, Caine, FULL SCENE
12	6		Bedroom	Mid, Tabitha FULL SCENE
13	6		Bedroom	Mid, Gideon FULL SCENE
14	6		Bedroom	Mid, Caine + Myra, FULL SCENE
15	6		Bedroom	Mid, Gideon + Tabitha Full SCENE
16	6		Bedroom	Mid, on Myra, as Gideon enters the room, Myra stands and moves to background, keep static as Gideon approaches, slight pan to reveal soap clenched in hand.
17	6		Bedroom	Mid, on James
18	6		Bedroom	Mid, Gideon + James, Gideon nods, looks towards James, grabs head, puts soap in mouth.
19	6		Bedroom	L/S, of punishment.
20	6		Bedroom	CUTAWAY, focus on objects in the room with action out of focus or in background.
21	6		Bedroom	C/U, reaction shots of Myra, Tabitha, Caine.
22	6		Bedroom	CU/Mid, James reacting to punishment.
23	6		Bedroom	Low angle looking up at bed (bedside table?) Gideon (focus) standing over James as he vomits.
24	6		Bedroom	Mid shot, Caine, “think about what you’ve done”.
25	6		Bedroom	Mid Shot, Caine + Myra, sympathetic look.
26	6		Bedroom	Cutaways, Objects in the room.
27	6		Bedroom	Steadicam, James getting up, to the window, moving towards door, pushing Tabitha.
28	6		Bedroom	Mid, directly behind James at window, pan as he moves to door.
29	6		Bedroom	Long, directly in front of door as Tabitha enters.
30	6		Bedroom	Handheld, Mid, focus on James, move in arc motion as Tabitha enters room and sees James behind door.
31	6		Bedroom	Stay on pair as James pushes Tab and she drops glass.
32	6		Bedroom	Cut to glass POV as Tab lands in background, hold as blood trickles on floor.
33	6		Bedroom	Steadicam on James’s reaction.
34	6		Bedroom	Steadicam from behind James (head and shoulder) looking at Tab.
35	6		Bedroom	Low angle shot of Tab’s head looking up at James as he leaves the room.
36	6		Hallway	Steadicam shots of James as he runs down stairs and out door, Myra behind.
1	7		Farmhouse (EXT)	Steadicam shots of James, as he escapes.
2	7		Farmhouse (EXT)	L/S, James running towards Cam.
3	7		Farmhouse (EXT)	L/S, James running away from cam.
4	7		Farmhouse (EXT)	Track, along side James as he runs.
5	7		Farmhouse (EXT)	Low angle shot (floor shot) James falling in front of cam.
6	7		Farmhouse (EXT)	Mid, from side, James attempts to get up, Gideon’s legs in same shot, rifle hits James. Hold on shot.
1	8		Living Room Dream Sequence.	L/S in front of James moving through room.
2	8		Living Room Dream Sequence.	L/S behind James moving through room.
3	8		Living Room Dream Sequence.	Mid, James in room, looks right.
4	8		Living Room Dream Sequence.	L/S of family, young James not fully seen.
5	8		Living Room Dream Sequence.	Steadicam, moving over each family member, from in front, and behind, reveal young James, hold. Young James turns head, raises hand in a shushing motion.
6	8		Living Room Dream Sequence.	Mid, James, mimicking motion.
7	8		Living Room Dream Sequence.	Mid, young James is now older James mimicking motion.
1	9		Basement	Mid, James as he sits in the chair.
2	9		Basement	C/U, of rope, feet, sweat droplets etc.
3	9		Basement	Long, Master Shot, Full Scene.
4	9		Basement	Mid of James side on low angle
5	9		Basement	Mid Caine, stood over James.
6	9		Basement	Mid to close of James as he looks up at Caine
7	9		Basement	Continue Mid shots for dialogue
8	9		Basement	Mid shot as Caine walks over to Gideon and kneels.
9	9		Basement	Mid of James looking at them
10	9		Basement	Tracking shot level with table showing weapons, slow down as he picks something up
11	9		Basement	Continue dialogue with side on mid
12	9		Basement	CU of Gideon as he shouts ‘you know what you did’
13	9		Basement	Cam on table with pliers in focus and James in back ground
14	9		Basement	Over shoulder of James as Gideon walks in front of him, crane down and focus on pliers and follow to fingernail
15	9		Basement	CU of nail ripping from skin
16	9		Basement	Mid of James reaction and intercut with cutaways
17	9		Basement	Same position on table as when he picked pliers up
18	9		Basement	CU of hand blood dripping, low angle on floor, blood spots land in front of cam
19	9		Basement	Side on CU of Gideon for his dialogue ‘you will admit your sin’
20	9		Basement	Low angle shot of James from knee looking up at face as he stabs his leg
21	9		Basement	CU of knife as he twists it.
22	9		Basement	Mid/CU of James as he falls unconscious.
23	9		Basement	Back to low angle as Gideon grabs James’s chin as he begins to carve his cheek
24	9		Basement	CU of the knife touching the skin
25	9		Basement	ECU of cross and blood running down his face
26	9		Basement	Mid of James as he dribbles, coughs etc.
27	9		Basement	Revert back to long for picking up bottle
28	9		Basement	Over shoulder of James as Gideon swigs whisky and pours it on him
29	9		Basement	James’s Mid reaction
30	9		Basement	Gideon mid shot for dialogue, James CU for dialogue
31	9		Basement	Long to show Gideon getting knife, CU of him cutting ropes. Floor angle of knife dropping on floor in front of cam.
32	9		Basement	Steadicam of him dragging James
33	9		Basement	Low angle from behind the corpse looking up at Gideon throwing him and dragging him over.
34	9		Basement	Mid, high angle looking down at James lying next to sheet, pull sheet off to reveal Tabitha.
35	9		Basement	C/U, floor angle on Tabitha, dead looking directly into camera.
36	9		Basement	Same as above, Focus on James reaction, pushing himself away.
37	9		Basement	Steadicam, low angle looking up at Gideon as he kicks James, enraged, placing sheet back over Tabitha.
38	9		Basement	Steadicam, semi-high angle looking down at James, fetal.
39	9		Basement	Steadicam of James on floor with Gideon in background out of focus. Crawls for knife. Pan up with James as he stands, Gideon reaches out for him.
40	9		Basement	Mid, side angle, as the knife goes in. HOLD. Gideon Pulls away.
41	9		Basement	C/U James reaction (over the shoulder)
42	9		Basement	C/U Gideon reaction (over the shoulder)
43	9		Basement	Mid, Gideon falls to floor.
44	9		Basement	Mid, direct on James, reaction, hold.
45	9		Basement	Mid/Close, knife and blood.
1	10		Farmhouse (EXT)	Cutaways of exterior location.
2	10		Farmhouse (EXT)	Mid, side on with the wall as James exits door.
3	10		Farmhouse (EXT)	Long, James walking into the field. (Towards cam, away from cam, side on.)
4	10		Farmhouse (EXT)	Mid, on James walking towards cam, Caine + Myra in background shouting towards him, James stops.
5	10		Farmhouse (EXT)	Mid, over the shoulder of James looking out into open space.
6	10		Farmhouse (EXT)	High angle (gib) looking down at James and Caine + Myra approaching. Film full scene.
7	10		Farmhouse (EXT)	Mid on James, Caine + Myra in background, full dialogue.
8	10		Farmhouse (EXT)	Mid, on Caine + Myra, full dialogue.
9	10		Farmhouse (EXT)	C/U Myra, dialogue.
10	10		Farmhouse (EXT)	Mid, James dialogue.
11	10		Farmhouse (EXT)	Mid/Close James smiling, slight angle, slits throat.
12	10		Farmhouse (EXT)	Long, behind Caine + Myra, James drops to his knees.
13	10		Farmhouse (EXT)	Mid on James level with him, hold. Fall back.
14	10		Farmhouse (EXT)	C/U birds eye view of James, gib up.