During shooting, I had to keep in mind that the end result of the triptych had to consist of three frames: one continuous frame, one frame using only 15 fps clips, and one frame primarily using medium shots. To do this successfully, the actions in each frame had to connect to each other in a sensible way. In other words, the frames had to connect to one another in a way that made to the story. Various shots had to be taken of the same event multiple times, which meant the actors performed most scenes at least twice. What I have taken away from this project is to always take extra footage. For example I made the continuous shot longer than one minute just in case any technical difficulties arose. You can always benefit from extra footage and decide later on what to get rid of in post-production.
In post-production, the footage was designated to the three frames described above. All frames had the same start and end time (0:00 and 1:04). All frames had to line up with each other on screen at crucial moments. The vision I had for these essential meeting places was the basis of the footage used in each frame. By doing this I carefully crafted a story that the youth of this generation can relate to. The final addition to the film was the special effects. The sound of gunshots was used to bring in the viewers; I wanted the audience to feel that the scene was surrounding them in real time.
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