To shoot my 1 minute silent visual story I used a Nikon D7000 with the combination of a 35mm 1.8 lens and a 10-20 4-5.6. I used my own inventory of equipment because I wanted the option to use a variety of lenses and as I shot at dusk, I needed one with a wide aperture. My idea was to use the prime lens for the handheld shots and the wide for the static and time-lapse shots as I wanted to show both the micro and macro elements of the miss-en-scene, for example using a shallow depth of field with the prime lens on the shot of my actor looking down into the street and getting close up, detailed shots like switching the light off.
The use of the static time-lapse at 00:27 was influenced by the work of Michael Slovis, the cinematographer of Breaking Bad who shot every episode in series 2, 3 and 4 each series being comprised of 13 hour-long episodes. I seem to have developed a time-lapse addiction recently which I wanted to channel into this project. The gliding movement of the clouds as the night draws in was a technique used to physically show it doing so, as apposed to my shorter shots simply each getting darker.
The reason I chose the location I did was to add to the motif of solitude. One car, one man, in a city full of people. I used the shot-reverse-shots at 00:38 to show his disconnection with the world around him. I believe that my shots create a sense of place because they depict a lonely man in what could be a lonely city. The pans across the buildings are intended as POV shots that show him looking around for comfort and the grey colours of the city scape reflect a bleak feeling inside him. I also used POV shots while he is looking down at the road to give the place a sense of disconnection from the rest of the world down below and oblivious. The wide shots of the city at dusk were used to make you realise that the city around you is so big and that the audience are supposed to feel like an outsider in the same way that my character does.