7/29/2019 Chelsea Road Shot list

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1. Hands On Business

1.1 OVER THE SHOULDER:

Shot of Antonio loading the doughmixer. I chose to shoot this over hisshoulder from an elevated position. Thisallowed me to capture the full scene

within the very limited space of theroom, and also allows a view of theinside of the mixer, which would not bepresent from other angles.

1.2 WIDE:

Antonio was our first interviewee, and aswe had already decided to try and filmour subjects within their workplace, wedecided to shoot him over the counter

where he serves customers. This locationand shot worked pretty well, with nicenatural light and interesting, relevantmaterial in the background.

1.3 WIDE:

We maintained the usage of the wideshot for all the interviews to lend themsimilarity, and it again worked wellwhilst interviewing Rosie. This setup is

almost identical to Antonios and again isbolstered by the natural light coming infrom the right of the frame and theinteresting backdrop, which includes amap of chelsea road.

1.4 WIDE:

When interviewing Gary, we cameacross a bit of a problem in that theoffice that we were allowed to use forfilming was pretty bare. I tried to set thisup as similar to the other threeinterviews as possible and the basicelements are there, the wide coverage ofthe workplace, the light coming in from

the side (albiet the left in this instance).But in the end the lack of interestingbackdrop lets the shot down.

1.5 WIDE:

For Fionas interview, we used the samesetup as the others, and there is a fairlyinteresting display in the backdrop.

1.6 MEDIUM CLOSE UP:

a close up of the front door of Antoniospizzarella, also incorporating theadjacent road. The way the sign andbuilding fit into the frame works reallywell whilst still allowing space to showChelsea Road.

1.7 EXTREME CLOSE UP:

Extreme Close of of Antonios doughmixer at work. I tried a few differenttakes of this shot, focusing in andzooming, but I found just the straightclose up to be the best.

1.8 WIDE:

Low angle shot of the spar sign. Thiswas taken early in the morning, in lowlight so the aperture and shutter speedwere set accordingly. This shot wastaken as an establishing shot.

1.9 MEDIUM CLOSE UP:

Close up of Antonio working with thedough. I shot this low and handheld andwas very happy with how it turned out.

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1.10 MEDIUM CLOSE UP:

Shot of peoples feet walking into theSpar, shot handheld.

1.11 EXTREME CLOSE UP:

Shot of Antonio shaping the dough. Thisshot works very well.

1.12 MEDIUM:

Shot of Antonio weighing the doughfrom a reverse angle to all the otherfootage of him making pizza.

1.13 MEDIUM:

Dough going through the final stages. Idecided to focus on the hands andactions for these shots.

1.14 MEDIUM:

Shot of Antonio flipping the pizza. Idecided to try and follow the pizzathrough the air with the lens andmanaged to get a couple of good shots ofit.

1.15 OVER THE SHOULDER:

Another reverse angle shot of antoniotopping the pizzas.

1.16 OVER THE SHOULDER:

Antonio loading the pizzas into the oven.The particularly bright light from the

windows was a slight issue here, butdoes not distract from the scene toomuch.

1.17 WIDE:

The next series of shots come from ourshoot of the spars early morning

deliveries. As it was dark whilst we werefilming, I worked at a higher shutterspeed to capture more of the image. I setup the shot primarily to show the rear ofthe truck and the unloading process butin doing that was able to provide a sortof symmetary with the parallel linesrunning through the image and thepavement and buildings on either side ofthe road allowed me to posistion thetruck in the middle third of the screen.

1.18 MEDIUM:

for the rest of the shots in the dark, Icontinued to film on a high shutter speed

to bring things out in the low light. Thisshot is of products being unloaded fromthe truck and wheeled offscreen to theleft.

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1.19 PAN:

Pan following the delivery down thepavement and into the shop doorway.

1.20 WIDE:

Reverse angle of deliveries entering theshop.

1.21 WIDE:

Shot of the truck of the street, anotherthat could be used as an establishing shotfor the spar as in includes both thepreviously seen trucks and the signtogether on Chelsea road. I think thisshot in particular is one of the best in thefilm, the lighting and the skyline in thebackground make it very interesting tolook at.

1.22 MEDIUM CLOSE UP:

Close up of a hand taking a product off ashelf inside Spar, shot on handheld, aswas most of the interior stuff in spar dueto space constraints.

1.23 MEDIUM:

employee working the till. This was oneof the earliest planned shots for the filmand I took it with the camera on myshoulder just behind the checkout.

1.24 PAN:

Clsoe-up pan of the map on the wall inRosies office, panning from bath citycentre to chelsea road. Several takeswere made of this, and I do think it's areally good shot. But I'm not sure it willfit into the pace of the final edit.

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1.25 MEDIUM:

shot of rosie working at her keyboardand answering the phone.

1.26 WIDE:

alternate angle of Rosie working andanswering the phone, not a bad shot butpossibly too similar to the angle of theinterview.

1.27 MEDIUM CLOSE UP:

establishing shot of the estate agent signabove the door.

1.28 WIDE:

second angle on the establishing shot forthe estate agent sign.

1.29 MEDIUM:

Shot from a very high angle covering theprocess of the nail treatment.