Where should I set the camera up?

N

Nightmare Films

In this scene the character of Seth wakes up in a well lit basement(sort of corridor) with many windows. He see's a phone across the room, though he's badly wounded he manages to crawl over to it, only to find it is out of power.

I want it to have a feling of hope, and then get hopeless.

I either want it to be

*Far across the room, get a sort of profile of the incident.
*By the phone once he notices it
*Following him
 
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Do some storyboards for the scene. :)

It will help you visualise exactly where that camera ought to be.

I either want it to be

*Far across the room, get a sort of profile of the incident.
*By the phone once he notices it
*Following him
Click to expand...

You could work in all three of those at once (and even more) to show the one scene. Or just use a single one. Until you know what you want to have the camera showing, you can't really place anything with certainty.
 
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I agree with what I think Zen said...shoot all the angles, and use them all...or decide after you've shot it which one you like.

I'd go with all three. I'd include close ups of the injury, and the phone which would truly show the hill to climb (injury) and the goal (phone), and then his face as he picks up the phone to go from I've made it, to it doesn't work.

Good luck!

Chris
 
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If I'm stumped of how to shoot a scene, I start watching some professional films to see what angles they pick and how they block a scene. Watching a director who's style you really admire can inspire you.
 
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Generally the camera shows the points of interest. In this case, it's:

Seth wakes up in a well lit basement(sort of corridor) with many windows. He see's a phone across the room, though he's badly wounded he manages to crawl over to it, only to find it is out of power.
Click to expand...

This description suggests a shot list that's already in your head.

Shots of:
1. HIGH ANGLE FULL SHOT Seth wakes up and looks around to find himself in a...
2. POV (Panning) basement with light pouring in from many windows
3. LONG SHOT from phone (large in frame) to Seth as he turns to notice the phone
4. MID SHOT Seth looks at his...
5. CU broken leg (or whatever)
6. CU Seth turning toward phone and starting to crawl
7. LONG SHOT from phone of Seth pulling himself toward it in obvious pain
8. XCU of Seth picking up phone
9. XCU keys on phone being pounded, blood staining them where Seth has touched them
(no dial tone)
10. XCU Seth's sinking expression as he...
11. MID SHOT pulls on the phone cord to find that it's...
12. CU Seth looking at a broken and frayed phone cord
13. FULL SHOT Seth slumping back down (not in description, but I would assume the reaction to his discovery is not triumphant)

This is all in you description of the scene, I've just highlighted the important bits of the description and turned them into the shot list (adding framing notes based on the intensity of the moment and the audiences need for relationship with the character/action). As filmmakers, we see scenes in our heads. Just be honest to that... it is the "VISION" that every one talks about filmmakers having. Write down the pictures in your head. Apply that to your location when you get there. On set, change your environment to match your vision...always return it to the state you found it, but move stuff around to suit the pictures in your head.
 
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