The above shot is a (behind) mid shot. We used it so as to cause unease from the get-go, as we cannot see the front profile of the character. This shot also acts as the POV of the murderer, increasing the tension as we can sense the character's vulnerability.
We then went on to use a long shot (again, from behind) to keep up the suspicion and discomfort now felt by the audience; this shot also serves as an establishing one, as we can now clearly see that this character is on a staircase, undoubtedly heading upwards in a building. Furthermore, this builds on the audience's tension, as, from countless films, we know that the higher up a building you are, the more difficult it is to escape. Now the sense of foreboding is undeniable.
This is a mid shot, capturing the staircase on which the character walks and the lower half of her profile. We also decided to shoot on this staircase as this shade of blue is dark, cold and therefore unsettling, much like the tone of our story!
The shot above is what is known as an over-the-shoulder shot, where we are given the first glimpse of the killer. This shot clearly portrays the victim in the killer's direct eyeline, and, as a result, increases the tension felt amongst the audience. The dark black of the killer's clothing also dominates the right hand of the shot and therefore acts as foreshadowing for the fact that he will be the more dominant of the two, having eventually killed her. The fact that the victim is the smaller profile in this shot also points towards this.
This is a long shot, as it frames the whole killer. We used this shot as it clearly demonstrates how near the killer now is to the victim and gives up some detail to their surroundings: closed, locked doors and close walls, allowing for no easy escape.
This is an establishing shot, as it establishes that the victim has now entered the bathroom. Again, we chose this particular door because it is the same cold, hard blue, and therefore has mostly negative connotations such as gloom and sadness.
This shot is now a close-up, as we are now focused entirely on the blue of the door and the fact that it is, as it reads, 'engaged'. This unnerves the audience as we can now comprehend that the victim is trapped, and the killer lurks only on the other side of the door.
We now put to use the shot known as a Dutch tilt; we used it here as naturally it is meant to cause unease and this shot perfectly encapsulates that.
This is a close-up shot, and again of the victim's profile from behind. The fact that she is turned away from us just as the killer has opened the door elicits nervousness amongst the audience, as she will have absolutely no warning when the killer strikes and therefore no defences.
The above shot is a mid shot, as it captures both the victim and the killer from waist/chest up. We used this shot as it allows us to glimpse the detail, such as the victim's reflection and the dark form of the killer.
This is the first time we are shown a front profile of the victim; we intended this as now we see her properly for the first time, just like the killer. This shot again is a mid shot, and the detail now is on her reaction and on the knife in the killer's hand.
This shot is now a close-up, focusing on the knife, the victim lying still and the blood splatter on the wall behind her head (it's really just paint!). We used this type of shot to relay these three significant elements in close, high detail.
