In this part, I started to prepare the footage of the reality shots, because the climax of the whole short film is the reality shots, and these reality shots show the character’s past and fantasy. So I need the reality shots I shot to provide enough emotional value to support the whole short film.
I first chose the beach, but the whole shot was a wide angle, and the camera was rotated during the shooting. Although the beach is a good scene for expressing emotions, this shot scheduling did not have the same effect, and even had the opposite effect, so I finally gave up on this shot.
I needed a lens that could carry the character’s emotions in terms of lens language, scene arrangement, and ambient sound, so I thought of the subway. The subway can perfectly cover these needs. I tried to shoot a segment while riding the subway. I chose a 35mm focal length lens setting, looking straight ahead from the perspective of the human eye. The 35mm focal length is generally what the real human eye sees, so this can also reflect the real memories of the character himself.
I then shot two more clips. One was shot facing the window of my house. I chose the afternoon when the sun was shining into the room and there was a breeze blowing, which would cause the curtains to flutter gently. The second clip was a river. I faced the sun and let the sun reflect through the water into my lens. Both clips were shot with a 35mm focal length. The first clip had almost no background sound, while the second clip had a strong wind sound.