in shooting In the whole film, Nick played by Sam Worthington almost roams on the windowsill of a tall building in New York, and it is possible to jump off at any time. In this kind of cramped, narrow, and unique space, it is definitely not an easy task to shoot the film with a sense of horror and tension. In addition, the photographer is carrying heavy photographic equipment and working on the windowsill like Worthington, which adds a bit of danger.
However, the final effect of the film is shocking, all of which must be bestowed by photographer Paul Cameron and editor Kevin Stitt.
Shooting options
during real shot, Worthington is looking for a "suitable" windowsill, convenient crew work safely, but also for all angles of photography. For the convenience of the later stage, he and Cameron walked onto the windowsill together to study the angle of photography and the editing space for later stage. This kind of preliminary work has found a way to break the routine for Cameron's photography. And it avoids the nausea and dizziness of the audience when watching high-rise scenes. What's more important is the complicated and changeable camera positions and viewing angles, as well as avoiding the possibility of boredom and repetition for the audience. Paul Cameron used contrast and first-person shooting methods in the film, using Worthington's angle to shoot toward the ground, and also from the perspective of onlookers.
Editing techniques
In shooting and editing, Paul Cameron and Kevin Stitt tried to show the true side of the story, so they used handheld photography, follow-up, and fast and sharp editing. And Kevin Stitt once edited the famous "Clover Archives", and is familiar with such "artificial" realism. So the film presents a feeling of tension, excitement, and realism.
View more about Man on a Ledge reviews
