Mile End Track and Dolly

Marcus, the tutor for the Tower Hamlets group, insisted on the group having a go with a track and dolly for Exercise 2.  The group, however, were having none of it: handheld all the way.  So Marcus brought the kit back the following week and the group tried out two shots of the same action – a young woman receiving a distressing text message – but shot each shot along a different axis.  Marcus then took one of the shots and added music – just to ramp up the emotions!

We all felt that the performance was really strong: notice how little B does, just a slight slump of the shoulders, or a distracted glance out of shot, then head in hands.  We looked afterwards at the chef d’oeuvre of crying on film: the end of Tsai Ming-Laing’s Vive l’Amour

Here’s the first shot, right to left.  Controlling a tracking shot at this slow pace is really hard; it builds anticipation though, and enigma – when the Hebrew script for the Jewish Cemetery comes into shot.  And the group decided to add passers-by in the extreme foreground, and to turn down the sound..

Then they shot from left to right, more conventional, but at a slight angle, and less securely on the x axis

And finally, Marcus added music to this one:

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