Detailed timeline for ‘3 DAYS’ This is the tim eline for our final m edia studies film . Here I explain the different shot types and angles we used and why.
1. CU – Manjana’s face We wanted to show with this close up at her face, that she is really scared about what will happen. And the CU is a good shot type for that, because then you can see the emotion on the face better than with a MS or LS
2. CU – Manjana’s legs This is again a close up and it should show again that she is really nervous and scared. Manjana is rubbing up and down her leg, because when someone is nervous or scared they normally can let their hands still. And the close up reinforces this effect more, than a MS or LS can do it.
3. ECU – Manjana’s eyes Here we used an extreme close up on Manjana’s eyes. We used an ECU, because if we use a CU again, it will be like the 1. shot on her face. So we changed it to an ECU to call the attention of the audience to the eyes of her. To show more the shocked face and maybe see a difference in the pupil’s.
4. MS – from behind Elisa is putting the first picture on the picture wall and for that scene we used a MS. This would show just her head and down to her hips, because we thought we don’t need to show her legs in this scene, because the main part is that she is using her hands and not her legs. We filmed from behind to let the audience have a better view on the picture and the wall.
5. CU – Elisa’s hand + picture with red circle This CU shows how Elisa is putting the picture on the wall. We decided to use a CU in this scene, to show the picture to the audience and the audience can see on the picture the red circle around Manjana’s face better, than in the MS before.
6. CU – Elisa’s feet We filmed here Elisa’s feet as a CU. The CU is really good in this scene, because as you see in the shots before, we never showed her face or whole body, so we tried to build up tension with this.
7. MS – from behind We used the shot 4. here again, but this time it is just in the background. It is in the background because we wanted to let the audience know that time is passing by and that Elisa is taking more and more pictures.
8. POV – from Elisa This is a scot in Elisa’s point of view. We show that Manjana is walking to her house in this scene and Elisa is watching her from the other side of the road. This POV shot should let the audience have another view to this scene and then they can feel a little bit like they are the stalker.
9. MS – Manjana walking to door In this shot and the following two we filmed Manjana walking through her garden door. We learned in our lessons that it has always a good effect to film something like that in 3 different shots, named action match. So the first of this 3 shots is the MS from behind. This action match let the audience feel more of the movement and they maybe feel that they are more part of the film. So we filmed Manjana from behind how she walked to the door and want to open it.
10. CU – hand + door handle This is the second shot of the action match, here we film a CU of Manjana’s hand on the door handle. Her movement is that she is putting her hand on the door handle and open the door than. This has a better effect on the audience, because they can see it better what she’s doing right now.
11. MLS – from Manjana walking through garden door We used a medium long shot for this scene. At the beginning we wanted to take a MS, but because of the stairs she needs to go up after she entered through the door we changed it to a MLS. We filmed how Manjana walked through the garden door and up the stairs to her house. And she is walking into the camera and so the audience see exactly what she’s doing.
12. LS – Elisa on the other side of road This is a long shot from Elisa, she is standing on the other side of the road, where see stood when we filmed Manjana from her point of view. We thought this shot type would be good here, because we can see Elisa coming closer and closer to the camera, as she is doing it with Manjana, because she is coming closer and closer to stalk in her house. We also changed this shot to a jump cut. This has a better effect from the audience, because Elisa is coming closer in little jumps. This has a scary effect.
13. MCU – Elisa with camera from behind In this scene Elisa is stalking Manjana through the window, she has the camera in her hand and is taking pictures of her while she is in the house. We took a medium close up here, because with a CU you can’t see what Elisa is really doing. We wanted to show the audience, that she is taking pictures of Manjana with the camera. And we wanted that the audience can really see what is happening on the camera screen. But we also wanted to show a little bit of Elisa, to have the stalker effect more obvious.
14. MS – from behind This is the exactly same shot than shot 4. and 7. We repeated it again, because we want to show to the audience, that Elisa is always doing the same when she is in her stalker room. But the only difference is that there are now more pictures on the wall, that should show that the time is passing by and Elisa is coming closer to the end. This shot is also shown in the background of the next 3 shots.
15. LS – Manjana from behind Here we used a LS from Manjana. We wanted to filmed it like it is a POV from Elisa, but at the end of the shot Elisa is walking into the shot and is looking at Manjana from behind, so the audience can feel like they are part of this scene as a third person. A LS is nice here, because you can see Manjana completely, but then you have a MCU of Elisa who is walking into the scene.
16. 2 LS – of Manjana Now we have two similar LS of Manjana. In the first LS is she walking out of a shop and Elisa is still stalking her and in the second LS is she passing Elisa. This LS looked like it is in Elisa’s point of view, while she is stalking Manjana. This should show the view of Elisa to the audience and they feel more like a part of the film.
17. CU – Elisa from behind This and the next 3 shots are the last shots in Elisa’s stalker room. In this scene she is putting the last picture of Manjana on the wall. We took a CU from behind for this scene, because then the audience can see the movements better and can see that its is the really last picture for the wall. And they feel like a second person in the scene, because it feels like they are looking over Elisa’s shoulder.
18. MCU – Elisa from behind We filmed again from behind, but this time we used a medium close up from Elisa, because she is walking a few steps backwards to look at her final work on the wall. This will also show the audience the complete work on the wall of Elisa with Manjana’s pictures.
19. CU – on Elisa’s watch Here we filmed Elisa’s watch in a CU. We used a CU, because we wanted the audience to see exactly what’s happening with the time on the watch. Because this is actually one of the really important scenes in our film. The time on the watch is changing from 00:01 to 00:00 and this should show that Manjana’s time is over now and the CU should reinforce that for the audience, because they can see the numbers on the watch really good.
20. MCU – Elisa from behind It’s like the shot 18. the only difference is that Elisa is here turning and walking away at the end. This walking away should show, that Elisa is going the end the mission now.
21. LS – from Manjana and Elisa In this scene we filmed how Manjana is walking up the stairs and Elisa is following a few meters behind her. We used a long shot here that the audience can see both, Manjana and Elisa compeltly and what exactly what they are doing.
22. LS – Manjana and Elisa behind her Manjana is falling because of her open shoe lace and Elisa is walking behind her. We took a LS here, so that the audience can see both, Manjana and Elisa. This should have the effect, that the audience can see both girls and their movements and they know before Manjana that Elisa is behind her, this can build up tension.
23. MS – Manjana with Elisa in the background In this shot we have Manjana on the floor, who is doing her shoe lace. Elisa is walking towards her in the background. We choose a MS, because with this shot you have the focus on Manjana, but you can also see Elisa in the background. We have the focus on Manjana, because we wanted for the audience to have the same feeling for Manjana, that you need to notice Elisa and that Elisa is really quite and you can’t see her at the first look.
24. LS - Manjana stand up In this LS we show Manjana is standing up from doing her show laces and is walking again as before. The LS should show also Elisa in the background again, but when Manjana get up you can’t see Elisa, because Manjana is standing in front of her. We done that, because this show again, that Elisa is still hiding and doesn’t want to be seen from anyone, but it also build up tension, because she is really close.
25. ELS – both walking Here we have an extreme long shot to show both of them from far away. Manjana is start to walk after she done her shoe laces and is just a few meters before Elisa. Elisa is following Manjana the whole way. We wanted to build up tension again in the audience, because Elisa is so close to Manjana something can happen every second.
26. CU – Manjana face In this scene we wanted to show, that Manjana starts to notice someone behind her. So she start to be not well and notice eyes on her from behind. To see her face good we took a CU of her face. Because the attention in this scene should be on Manjana’s face.
27. CU – Manjana’s head turns In this shot Manjana turns her head to see what or who is behind her. We took again a CU that the audience can see the head turn better and it shows again that this is an important movement.
28. CU – Manjana face In this CU we show Manjana’s face again, but this time it’s after the head turn and she sees who is behind her. That’s why she look really shocked, because she notice Elisa in her black outfit behind her and that she followed her a long time now.
29. LS – Elisa This LS isn’t just a normal LS, we changed it to an eyeline match from Manjana. Elisa is just standing there and look at Manjana, this eyeline match is from Manjana’s POV, because she notices her for the first time. We thought this is a good time to do an eyeline match.
30. MS – Manjana turn again Here is Manjana turning again to the front and back from Elisa. This MS is really important, because without this shot there wouldn’t be a complete movement. Manjana turned first back to Elisa and then she needs to turn back to the front again to complete the movement. She has still a shocked face.
31. ELS – Manjana running, Elisa following In this ELS we see Manjana is start running and Elisa is following her. Manjana runs towards the camera and out of the scene, but Elisa is just walking behind her, she’s not running. This should show that Elisa is really sure to catch Manjana and that she doesn’t need to run after her. When Manjana is out of the scene you just see Elisa walking and in this moment we took the chance and made some jump cuts to build up tension that Elisa is coming closer and closer.
32. LS – Manjana running (Camera optic) Manjana is running towards the sport club to think that she is maybe safe in there. We took again a LS to show the running better and this time we changed the complete optic. This scene is in a CCTV camera optic, because we thought that sport clubs like this one maybe have some CCTV camera at the car park and this also gives the audience a complete new perspective to the scene and the film. Because the feel more in the scene and at the same time they feel far away and safe in the camera.
33. LS – Manjana open door + look back This is again a LS, but this time it isn’t in camera optic it is a normal optic. And this LS shows Manjana, who is running towards the door and opens it to run inside. But she is looking back again to she if Elisa is still behind her and if she is then how far and how much time she has. We thought this is a normal reaction to the situation, that Manjana is looking back again.
34. High Angle LS – Manjana running (Camera optic) Here we have the camera optic again, because we thought if they have cameras at the car park they will also have some inside the building and this gives the audience again another perspective to the scene. But this time the LS is also in a high angle, because the camera is at the celling and not somewhere at the ground. Manjana is just running inside the building, this scene is not really important for the tension, but for the complete movement.
35. MS – Manjana at the wall (Camera optic) This time it is again another camera optic and Manjana is first filmed form behind in a MS as she runs towards the door, but the door is not open. As a normal reaction she doesn’t know what to do know because she can’t have a way out now and she is turning and facing the hallway to see when Elisa is coming.
36. MS – Manjana slide down This MS is not with the camera optic. It is from the ground and Manjana is sliding down, because she has not escape anymore and then she is sliding down to sit in the corner, because a corner is in the safer then everything, because nobody can come from behind and she can see what is happening in the next few minutes.
37. LS – Elisa walking (Camera optic) Here we have again the camera optic from the car park. Elisa is still walking towards the building and not running, because she thinks she is still catching Manjana there. In this LS you can see again the person better complete and we took again the chance to build up tension with jump cuts.
38. High Angle LS – Elisa walking (Camera optic) This scene is again in the hallway from the sport club and that means it is the camera optic with the high angle. Elisa is still walking and she is coming inside and walks in the hallway. This should maybe build up the tension, because the audience knows that Manjana hasn’t got an escape and Elisa is catching her in a few moments.
39. CU + ECU – Manjana’s head, legs and eyes This shot are from the beginning, shot 1, 2 and 3. So it is a repetition form the start of the film. We thought that it would be a nice effect to have some repeated shots in the film and that the audience now know that the start shots were an anticipation from the ending.
40. LS – Elisa walking This LS is from Manjana POV. It should be an important shot, because Manjana and the audience is now facing Elisa as she is walking towards her. And the audience knows now that something is happening, because Manjana hasn’t got an escape and can’t stop Elisa now. When Elisa is standing in front of Manjana she is taking the knife out of her jacket.
41. MS – Elisa from behind (Camera optic) This is again a camera optic and the camera is filming Elisa from behind. We thought this is a good shot, because you can still see Manjana on the floor in front of Elisa and you can also see Manjana’s face and that she can’t sit still, because she is scared and want to do something before Elisa is killing her. You can also see Elisa is taking out the knife. At the end of this scene we put some camera flickering, to show that the CCTV camera is broken and not working properly. This should also build up tension, because the audience is now thinking what is happening next?
42. LS to CU – Elisa walking to camera (Camera optic) In this scene the camera is working again and you can see Manjana is lying in front of Elisa, dead. Elisa is turning around and walking towards the camera and stop in front of her and smiles into the camera. This smile should show that Elisa has fun doing that and that her mission is over now and that she doesn’t feel guilty about what she has done. It is first a LS where you can see Elisa in front of Manjana and then when she is standing in front of the camera it is a CU of her face. At the end it is again the camera flickering.
43. LS to CU – Manjana turns to ghost (Camera Optic) Here we have the ending scene and the ending scene shouldn’t be an end it should show that the film can go on. So we thought about what we can do and how the film can go on. Definitely Manjana wants to have revenge and wants to find out why Elisa done that, but how can she do that when she is dead. That’s why this scene is so important, because here we have one shot over the other one to show a transformation to a ghost. We took a LS for show Manjana lying dead on the floor and then the ghost form Manjana is leaving the body and stands up and walks towards the camera and stop in front of the camera like Elisa done is a few moments before and then we have the CU to her face and she is also smiling into the camera. This should show that she is now thinking the same way then Elisa. At the end again the camera flickering.