Final Cut of Watching Her Every Move

CCR 3+4!!

You guys keep asking for it, so here is my skincare routine and answering your questions!!

CCR 1+2!!!

I was interviewed by two newspapers about Watching Her Every Move!!!

 

Editing Uh Oh

Melina Cinnamon is our editor and she had a few bumps in the road while editing our movie. She had some problems with Premier Rush on her personal laptop, so she started editing on a different laptop. She was a little over halfway done editing when the laptop she was using shut off on her. 

She had updated us on this inconvenience but Sarah and I weren't worried, we had confidence that she would get it done as we had a lot of time before the final cut was due. And in the end, she did get it done and it looks great!

Landline Improv (Film Day 3)

On the last day of filming, it was very stressful. We had a lot of scheduling problems and ultimately Melina was unable to join Sarah and me. Since Melina was the editor and we were done with all the stalker scenes, it was okay for her to be there. The only thing that completely slipped my mind was that Melina was the one who had the landline. So Sarah and I had to improvise. We ended up using a remote control to be the phone. 

I then filmed the other side of Sarah's face so her head would block the fact that we are using a remote as a phone. 

It ended up working well for us because, in the final cut, you cannot tell that it is a remote control.

Shadows

While filming Sarah getting out of her car and walking up to her front door, we had problems with lighting and shadows. The plan was for me to swivel my body to keep the camera in one place but still twist around to follow Clara to the door. We found one position that worked best for me to produce the upper-body swiveling action, but it made a shadow in the direction of the car after experimenting with numerous different positions. This would be very obvious through the camera. 

Here is the photo:

So I had to distort my body and move slightly so that there would be no shadows. We got the shot, although it's a touch wobbly because we had to forgo ideal positioning to avoid shadows in the frame. As we were recording Clara approaching the door, I asked Melina to use her flashlight to brighten the area on camera so that the car could be noticed more successfully, but you could see the glare in the car's reflection. We had to abandon that as well. We left the lighting alone after experimenting with the exposure on the camera because the lighting would be quite different in real life due to the brightness of the porch light.

The 180 Rule

For one of the scenes in Sarah's house, we were filming her in the kitchen where she was cleaning up and putting groceries away. While we were filming, I realized that we weren't exactly following the 180 rule.

Here is Sarah and I realized that we broke the rule:

We fixed the angle of how we are filming and we were able to follow the rule for this scene.