Below are some shots from our exterior crime scene, the shot directly below is how we composed our long take for the film, we agreed on a forward tracking motion to introduce the killer (detective) as he enters in front of the already tracking camera meeting with the drug dealer in the centre of the frame, once the drug dealer is shot and the killer runs out of frame to the left we cued Brad to run into the frame from the right immediately after the killer had just got off screen, Brad would then make his phone call and walk toward the camera, this would be my cue to pull back the camera and begin to track backwards until the extent of the track had been utilised.
The location worked well to compliment the scene as it involves a symmetrical structures both the archway and the paving that runs into the circular centre piece lead by a thin path situated beneath the arch. I feel that this mathematical element compliments the precisely framed long take, generating a more symbolic piece with choreography that seems rather theatrical and unnatural contrasting with the interior interrogation scene.
Above is a still from the tracking movement just mentioned, notice that we have placed both characters either side of the centred tree, this was more a personal preference and aesthetic idea that we had rather than for narrative gain.
This shot above is one that I composed as a reverse to Connor Elliot's which forms part of a reverse shot sequence between the two detectives.
A POF from the body that we used framing both detectives.
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