Deciding to Reshoot

Editing vs. Reshooting

After reviewing our rough cut, we noticed that some transitions were missing, which caused certain sections of the film to feel choppy. This was particularly noticeable during the car scene, where the flow seemed abrupt, making it harder for the audience to stay engaged. The scene where the two characters initially meet also had a choppy feel, but we were able to improve it by removing one shot entirely, which helped smooth out the pacing. 

When we turned our attention to the car sequence, we initially hoped that editing could resolve the issues. However, it quickly became clear that the problem ran deeper than just an editing fix. After careful consideration, we realized the best solution was to reshoot the shots in the car, ensuring the scene would feel more fluid and seamless. 

While we are focused on reshooting the car sequence, we also plan to revisit the date scene. Since we'll already be at the location for the reshoots, we’ll take the opportunity to assess whether we can capture a better shot during this time. However, we don't feel the need to stress over it too much. If we can improve it, great—but we don't want to let that scene take away from the more urgent reshoots that are necessary for the film's overall flow and pacing. 

Ensuring our Reshoot Will be Better

Still from the car scene in our film 

Above is one of the shots from the car scene. While it’s just a still frame, the entire shot feels similarly stiff because our actor remains motionless. We didn’t fully notice this issue while filming, but once we assembled the rough cut, it became clear how unnatural the shot appeared. To address this when we reshoot, we plan to have the actor enter the car, place his hand on the wheel, and look towards the other actor to introduce movement and energy into the shot, helping it feel more dynamic and natural. 

Formatting the Title

In our film, we strategically placed our title at a pivotal moment in the film, which is where the audience realizes something has gone wrong during Eva's date. This moment is designed to be both suspenseful and eerie, marking Eva's final appearance in the narrative. As the car drives off, our title slides in, but we intentionally crafted the sequence to ensure that the tension persists beyond this point. 

Drawing inspiration from The Silence of the Lambs (1991), we aimed to create a similar sense of unease through our title design. In the original film, designer Tibor Kalman's studio, M & Co., created a title with slightly crooked letters. This subtle imbalance introduced the unsettling nature of the scenes, which heightened the viewer's sense of discomfort.  

This approach aligns with our objective to maintain suspense throughout the film, ensuring that the audience remains engaged and emotionally invested in the unfolding narrative. 

Title Slide for The Silence of the Lambs (1991)

Our version of the imbalanced title format

Keeping the Stalker Hidden

As discussed in my previous blog post, one of the key narrative choices in our film was to keep the stalker’s identity mostly hidden. Initially, we planned to use various camera angles to hide his face and maintain this sense of mystery. However, when we began filming, we quickly realized that some of these angles would result in awkward compositions that didn’t serve the visual quality of the shots. The angles that were meant to conceal the stalker sometimes compromised the overall aesthetic or made the scene feel unnatural. 

To solve this problem and still maintain the mystery without sacrificing the integrity of the shot, we had to get creative with other ways to hide the stalker's identity. One technique we used was having the actor stand on his toes for the duration of certain shots. This subtle adjustment allowed him to remain just out of view of the camera’s frame, ensuring that his face stayed hidden without creating an awkward visual. The slight shift in posture became an effective tool for maintaining the tension while preserving the shot’s natural flow. 

Our actor on his toes during a shot

In addition to this, we made the costume choice to have the stalker wear a hood throughout the entire film. This simple yet effective detail not only helped to further obscure his facial features, but it also contributed to the eerie, unsettling vibe we wanted the character to convey.  This visual choice enhanced the sense of discomfort, adding to the unnerving atmosphere we were aiming to create. 

Our actor's hoodie and the camera angle we used to hide his main features 

By combining these techniques with our overall vision, we were able to maintain the stalker's concealed identity while ensuring that each shot felt intentional, visually cohesive, and aligned with the film's tone. 

Concealing the Identity

Why are we Hiding the Stalkers Identity? 

We decided to conceal the identity of the stalker to enhance the mystery and create a deeper connection with Sofia’s perspective. By keeping the stalker's identity hidden, we wanted to give the impression that the unfolding events were coming from Sofia's memories, adding an element of suspense and uncertainty. This choice was also reflected in the script, specifically in how we developed Sofia’s understanding of the situation. We intentionally created dialogue that emphasizes Sofia’s lack of knowledge about the man her best friend, Eva, is seeing. In one key moment, Sofia shows she doesn’t even know what he looks like, and she bluntly asks Eva for his name. However, Eva’s response doesn’t reveal much as she abruptly hangs up and says the man has arrived. This interaction not only highlights Sofia’s growing confusion but also contributes to the sense of isolation she feels throughout the story. 

Furthermore, the stalker's name is never mentioned throughout the film. By withholding this detail, we keep the focus on Sofia’s experience rather than on any specific identity, which allows the mystery to build and maintains the unsettling, unpredictable tone. It’s a subtle choice that reinforces the central themes of mystery, pulling the audience deeper into Sofia’s world as she struggles with the unknown.  

Dialogue showing Sofia doesn't know much about Eva's date

 

Camera Angle Problems

Another challenge we encountered during filming was related to our original plan for several over-the-shoulder shots designed to keep the stalker's identity concealed. While this approach was great for maintaining mystery and tension, it unintentionally caused issues with the audio. The angle and distance from the actor made it difficult to clearly capture his voice, and to make matters worse, the wind and various background noises interfered with the recording. As a result, the stalker's dialogue was incredibly low. When compared to Eva’s dialogue, which was clearly audible, the lines of the stalker were barely distinguishable. 

Once we review all the footage, we will discuss whether this audio issue can be addressed by having the actor record a voice memo of his lines. If we decide to go this route, we can then overlay the recorded audio in post-production, which should help balance the sound levels and ensure that the stalker's voice is clear and impactful. It’s a tricky situation, but with careful editing, we should be able to make it work. 

Over-the-shoulder shot of our stalker

Background Noise

Similar to day one of filming, we faced issues related to background noise on day two. However, the nature of these challenges was different due to the contrasting environments we were working in. On day one, we had more control over the background sound because we were filming indoors. The controlled environment allowed us to minimize the impact of background noises, making it easier to focus on capturing high-quality audio. 

On day two, we were outside, which made the background noise much harder to manage. We strategically chose to film on a weeknight, believing the area would be quieter compared to busier weekend times. Our hope was that fewer people would be around, and the general activity in the area would be minimal. However, the are turned out to be busier than we anticipated. There were constant sounds from people, cars, and restaurants and it became increasingly difficult to isolate the desired sounds and maintain the level of audio quality we wanted to achieve. 

We had to adapt and brainstorm solutions on-the-spot, including repositioning our equipment and trying to work around certain peaks in noise levels. But despite these solutions, the challenges from outdoor filming were almost unmanageable. 

Location for outside scenes

Day 2 of Filming (continued)

Filming on day two took much longer than expected, which forced us to adjust our original plan. We had initially planned to shoot at the promenade and then drive to Loxahatchee Road, near the Everglades, to film our final scene. However, with the promenade and Loxahatchee being about 25 minutes apart and time running short, driving there no longer seemed feasible. During early pre-production, we had discussed the possibility of shooting the driving scene on a road near the promenade, so we decided to revert back to this idea. In the end, it worked out perfectly. While Loxahatchee may have a creepier vibe, it was pitch-black outside, so visibility was minimal. This made both locations equally eerie, and the scene still came together seamlessly. 

Where we set up the camera to film the car driving off 

 

Day 2 of Filming

Day two of filming was a lot more challenging than day one, and for several reasons. First, we had a lot more scenes to shoot, many of which required complex camera angles. In the picture above, you can see us positioning the camera for the car scene. We wanted to switch up the angles for each shot, but there is only so much you can do inside a car. We either sat in the back seat or the passenger seat to capture variety in the angles. In the car scene, Eva receives a text from the stalker saying "I'm here." We wanted the text message to be clearly seen on the phone, so we did a close-up of the phone for this shot. We didn't anticipate how many attempts it would take to capture the perfect shot of the message appearing on Eva's phone, but after seven tries, we finally got it right. 

Seven tries for the texting shot 

Creating the Fake Account

Before filming our opening scene, where the stalker scrolls through Eva's social media, we had to create a fake social media account. Our editor took the lead on this and designed the account prior to filming. He took photos from our actresses actual Instagram, and added things that would relate to our character. The most important detail was changing the username, as the actress's real name isn't Eva. 

This is where we set up the stalking scene. The Instagram is displayed on the right screen and for the left screen, we picked a random house on Zillow to pretend like the stalker had found Eva's house. 

Additional Issue 

This scene was the only one we needed the stalker for on day one of filming, but at last minute, the actor scheduled to play the stalker couldn't make it. We were left with two options: either add an additional day of filming for just one scene or find a substitute for the stalker. Since the character's identity is hidden, we figured using a different actor wouldn't be noticeable. The only potential issue is the fact that the two actors have different skin tones, and the stalker's hand is visible in this scene. To address this, we plan to adjust the brightness in post-production to make the difference less noticeable. 

Complications With Background Noise

My group didn't anticipate how much background noise would be picked up during filming. After the first or second take, we paused to listen and realized there was a loud, static-like hum filling the room. It didn't take long to figure out it was the air conditioner. The hum was so constant that it threatened to ruin the audio quality of our footage. The only immediate solution I could think of was to turn the AC off completely while we filmed. Once I did, the room became silent, like the kind of controlled quiet you'd expect on a professional set. As we kept filming, we quickly realized just how many subtle background noises were creeping in. For example, the ice machine in the fridge, the sound of doors closing, and even the ping of text messages coming through on our phone all started to creep into the scene. Each of these sounds, though small on their own, began to stack up, each one threatening to disrupt the audio quality. So, even if the acting was great, there were several moments where we had to reshoot due to unexpected noise interruptions. Each of these reshoots were a bit of a setback, especially because we were on a time-crunch, but we knew it was crucial to maintain the quality of the final product. 

The picture above shows how the therapy scene was shot in a central room in my house. This made the noise from the AC more apparent. Luckily, when it came to the bedroom scene, we could just shut the door and the noise was controlled. 

Day 1 of Filming

Working With Natural Light

We had a limited window of time to shoot this therapy scene since we were relying on natural light, and the sun was quickly setting. To ensure we captured the perfect shot, we decided to film this scene first, even though it's the last one in the film. Given that the therapy session takes place during the day, it made sense to prioritize the lighting. We were able to complete the scene just in time, as the sun dipped below the horizon. 

The therapy scene 

Hiding Details 

In our film, we introduce our character, Sofia, early on, so it was crucial to ensure her environment reflected her identity. We shot this scene in my room, where there's a sign with my name on it (which is visible in the top right corner of the picture). To avoid any confusion, we had to carefully position the camera to hide the sign from the frame, as it wouldn't make sense for Sofia to have a sign with someone else's name in her bedroom. 

The phone call scene 

Creating the Storyboard

Today, I assisted the cinematographer with making the storyboard. I wanted to make sure the storyboard was staying true to the script and true to the vision my group had for how the dialogue should unfold. Despite previous discussions about the dialogue, there were still moments where certain shots didn't quite translate visually for the cinematographer. For example, the angle I envisioned for the shot on the bottom right was hard for the cinematographer to picture, and my sketch didn't effectively convey the perspective I was aiming for. It became clear that capturing the right angles in the storyboard is challenging, as it's hard to visualize 3D space and depth through flat images. So, we did the best we could with our sketches and made sure to discuss them thoroughly so there wouldn't be miscommunication on our first day of filming. 

Additions

As my group continued discussing our film, we reached a point of disagreement regarding what should happen after Eva and the stalker get into the car. Initially, I had imagined them simply driving away from the parking spot, and that being the last we see of them. One group member supported my vision, while two other group members envisioned a more extended sequence, where we actually see them driving for a bit before her disappearance. At first, I was hesitant because I was concerned filming a convincing driving scene may be difficult with the equipment we have. However, after further discussion, I realized if we filmed it at night without other cars, we could likely make it work. This led to a new scene in the script and storyboard as we came to the conclusion that this driving scene would be the most effective in a different location entirely. 

Additional Location- Loxahatchee Road

The perfect location for this new scene is Loxahatchee Road because of its seclusion and darkness. The road is away from areas that are heavily lit, making it an ideal location for creating a sense of tension and isolation. The isolation of the road means that there are few people around, which emphasizes the danger of the situation. The darkness of this road can be seen as a metaphor for the unknown, adding to the fear of the unknown as Eva's fate unfolds. This setting allows the audience to feel the eeriness of the moment, making it clear what the stalker's true intentions were. 

Loxahatchee Road 

Our Title: Missing Eva

"Missing Eva" may seem like a simple title, but I love it because it is a double entendre. A double entendre is a word or phrase that is open to two interpretations. On one hand, it suggests that Eva is literally missing, and the film will explore life for Sofia, Eva's best friend, after her disappearance. On the other hand, it can also imply that Sofia is missing Eva, emotionally and mentally, as the story unfolds. 

A24 is a well-know production company that usually uses short, simple titles for their films. This has become a recognizable feature of their brand. These titles are often concise, yet they still manage to convey a strong sense of the movie's core theme. However, their titles don't give too much information away, which leaves room for curiosity from the audience. A well chosen title can set the tone for the rest of the film. Whether it's about capturing a certain feeling, character, or theme the key to this approach is finding the balance between clarity and mystery. You want the title to spark interest without giving too much away. My group took inspiration from how A24 uses titles for our film. "Missing Eva" aligns with A24's strategy of creating intrigue and mystery through a short, impactful title. 

Examples of A24 films with short, simple, and impactful titles: 

The Humans (2021)

Moonlight (2016)

The Florida Project (2017)

CCR Planning

Another CCR question that has stood out to me during the pre-production process is "How does your product engage with audiences and how would it be distributed as a real media text?" For this question, I will most likely record the reaction of a friend/relative watching our film and then interview them with a series of questions afterwards. Some of the questions I could ask: 

1) What was your overall impression of the story? 

2) What do you think the film is trying to say about mental illness?

3) What do you think the film is trying to say about digital and online safety? 

4) Which shot stood out the most to you and why? 

5) Can you identify any symbolic elements in the film that support the genres- drama and mystery? 

6) This was only the first two minutes of our film, how do you expect the plot to develop after this? 

7) What were your first impressions of the film's main characters (Eva and Sofia)? 

Example of a reaction to the film La La Land (2016)

CCR Planning

As my group finalizes planning, I'm keeping the Creative Critical Reflection (CCR) question in mind: "How does your product use or challenge conventions and how does it represent social groups or issues?" To answer this, I'm planning to create a video that breaks down the key elements of my film. Since I am the director, I think it would be effective to format the video like an interview, much like how the director of Wicked (2024) talks about representation and his creative approach. (See video below)

In a previous blog post, "Representation in Film," I explored how our film represents important social issues, such as mental health and digital/online safety. I plan to use this post to help me address how our film represents these issues in the CCR.

For the first part of the question, our film both uses and challenges conventions. Our film will use conventions typical of a drama film, such as dramatic music, relatable characters, and an abrupt switch in tone. However, our film is also considered a mystery, though it challenges some of the typical conventions of that drama. Unlike many mystery films that focus on solving the puzzle, if continued our film would take a slightly different approach, choosing to explore the emotional and psychological aspects rather than the mystery's resolution. 

Interview with Jon M. Chu, the director of Wicked (2024)

Sound and Music Ideas

Music 

My group has decided to use the song My Future by Billie Eilish, specifically the lyrics, 'can't you hear me? / i'm not coming home.' We plan for this song to appear as the car is driving away, during our sliding title. It will mark the moment where Eva is taken and the haunting tone of the song will transition the audience into the upcoming therapy scene, setting the emotional stage for what's to come. My group discussed that when Eva asks, 'How much further,' instead of answering her directly, the stalker will simply just turn up the radio. The first lyrics that will clearly emerge are those mentioned above. 

Sound 

There will be areas in our film where tension music would work as background noise, but I don't want to overdo it. I feel like too much tension music could take away from the dialogue in our film, instead of enhancing it. Our group has decided though that we want specific sounds to be enhanced. For example, we will have the stalker open the door for Eva and when he closes it on her, he will slam it shut. The force causes Eva to jump, instantly alerting the audience to the unsettling atmosphere. By emphasizing the sound of the car door slamming, we can amplify the tension and further enhance the eerie vibe in the scene. 

Shot Ideas

While Eva is chatting on the phone with her friend, we envision her applying lip gloss while the stalker is secretly lurking behind her. This type of shot can be referred to as a reflection shot, showing both the person and their reflection. However, Eva's reflection will not take up the the entire mirror as there will be a small space left to see the stalker. 

Example of the shot we are envisioning 

Our film will feature several over-the-shoulder shots to conceal the stalker's identity, creating a sense of mystery an unease. This choice helps establish that the opening scene is a fragment of Sofia's memory, which becomes clearer once the narrative shifts to the therapy session. Since Sofia never saw a picture of Eva's date, she has no concrete image of the stalker. So, when Sofia envisions what happened to Eva, she doesn't know how to picture the stalker. 

For our title, we want to have a sliding title following the car driving away. The title, Missing Eva, would appear from the left or right, synchronized with the lyrics or instrumental beats playing in the background. The fluid motion would help keep the audience engaged while enhancing the emotional tone of our film. 

Example of a sliding title in Juno (2007) 

Writing the Script

This week, my group completed our script, making a significant milestone as we now have a solid foundation to build upon for our storyboard and shot list. With the dialogue already in place, we have a clearer vision for how we want the shots to look, which will make the next steps much smoother. As the director, I want to ensure that everyone's ideas are reflected in the film, so while writing the script, I had to word the dialogue in a way that reflects everyone's vision, rather than just picking one person's idea. 

Although our dialogue is pretty much solidified, I want to revisit the script with my group to add some notes on the tone we want to convey. For example, one of the first scenes is a phone call between best friends. This phone call could be delivered with a tone of worry, depending on how our actor interprets their lines. Alternatively, it could come across as more neutral, just two friends chatting before a date. Personally, I lean towards the second option, as it would emphasize that neither friend expected something serious to happen. However, when my group meets again, I will ask make sure to get everyone's input before making a final decision.  

We incorporated specific actions in our script to help establish our character's personalities early on. For example, we've included a moment where Eva applies lip gloss before her date, which highlights her interest in makeup and helps convey her feminine side. This detail, along with her outfit, will reinforce that vibe and give the audience a clearer sense of who she is. Another key action we've added is a shot of the stalker shifting the car into reverse. We imagine this as a close-up, and while it is subtle, it serves as the first hint that something may go wrong, creating an underlying sense of tension. 

Example of how I envision filming the stalker shifting the car into reverse

Choosing Actors

For our film, we're focusing on three main actors, with the possibility of a fourth depending on a key plot point that's still up in the air. The direction we choose will influence whether we bring in the additional actor. So far, we've secured two of the main roles, as the actors have already confirmed their participation.

Character #1- Eva

Eva is the girl going on the date, and we envision her as outgoing, free-spirted, and full of life. We've found the perfect person to bring this character to life. She is deeply involved in theater, which gives us confidence she'll capture the exact vibe we're aiming for. Not only does she have the energy we want, but she also has a vibrant personal style and expresses herself through her clothing, which perfectly matches Eva's personality. If we were able to get professional actors for the role, I can imagine Maddie Ziegler playing her part. 

Maddie Ziegler in The Fallout (2021) 

Character #2- Sofia 

Sofia is Eva's best friend, and we envision her as the sweet, innocent childhood best friend, with the ability to portray a sense of stress as the story would unfold. We found a great actress for this role. Like our actress for Eva, she is also heavily involved in theater. With her natural, innocent look, she perfectly embodies Sofia's character, and her acting skills are amazing, allowing us to shape her performance as needed. If I were to cast professional actors, I can imagine Jenna Ortega playing Sofia. 

Jenna Ortega in Scream VI (2023) 

Character #3- Stalker 

We're still undecided on who we want to cast for this role, as we have two strong options, each with its own set of pros and cons. One option has a theater background, so we know he will be able to deliver the lines and emotion how we want. However, he doesn't quite match the physical look we imagined for the stalker. The other option is a guy that does fit the look, but he has no acting experience. To figure out which works best, we plan to bring both actors on the first day of filming to test their performance and see which one captures the character most effectively.