The design of the Hunter to Preyer conversion:
- The changes in the environment made Preyer become powerful.
- What conditions would create an advantageous environment that transcends race?
Possibility: Vampires are afraid of sunlight – No, Hunters aren’t that stupid.
Possibility: Set up a trap. The Preyer race is large in number and strength. One person will lead the Hunter into an environment where the Preyers have already set up an ambush – OK
Hunter to Preyer转换的设计：
- 环境的变化使得Preyer变得强势
- 什么条件创造出超越种族的有利环境？
- 可能：吸血鬼惧怕阳光 – 否，Hunter也不至于这么蠢
- 可能：设计陷阱，Preyer种族人多势众，由一个人将Hunter引入到其他Preyer埋伏好的环境中 – Ok
Finished Previs
Self-feedback (measured by the completion of a complete scene as the standard):
· The scene starts directly without any explanation of the preceding events. The entire shot looks like a part cut out from a complete scene. For this part, we can start by introducing Preyer (because it’s more thrilling to unfold from Preyer’s perspective), such as Preyer walking on the street, occasionally looking back, and then walking faster and faster, leading to the first two scenes.
· 开头直接就进了，没有特别交代前因后果，整个shot出来像从一个完整的scene里面裁出来的部分。Fix这个部分从引入Preyer（因为以Preyer视角来展开比较惊险），比如Preyer正在街上走，时不时回头看看，然后脚步越来越快，这样过渡到开头两个。
· The first half of the film mainly focuses on the description of Preyer’s experience, but by the end, there is no sense of being pushed to the brink. It gradually becomes more and more tense, with rapid breathing. There is no feeling of the increasing chaos in the camera shots. Moreover, a contrast between Preyer’s panic and Hunter’s calmness is missing, which is a crucial scene in the film.
· 前半Preyer的体验描写少，到后面就没有被逼到绝境的感觉，从慢到快越来越紧张，呼吸急促，镜头越来越混乱的感觉没有，后面缺了Preyer的慌乱和Hunter的冷静之间的一个镜头对比。
· · Preyer was the one who actively led Hunter into the alley. However, Preyer’s movement felt too smooth. There was no sense of being at a dead end. The only way to have a glimmer of hope was to go into the alley. One approach was to use a very short first-person camera shot, contrasting the options of moving forward (with a slower speed than Hunter: Hunter moved steadily towards Preyer), turning into the alley (now temporarily blocking the view behind the car), or the opposite alley (which would be a shortcut and would be caught up by the pursuer if crossing the road). In Hunter’s first-person perspective, Preyer flashed between the car and the alley, leaving a trail.
· Preyer是主动将Hunter引进到巷子里的，但Preyer拐的感觉太顺了，没有走投无路了只有走到巷子里可能有一线生机的设计，一个方法是切很短的第一视角镜头，对比向前走（速度没有Hunter快：Hunter很稳地朝Preyer走）、拐进巷子（现在在车子后面暂时挡住了视线）或者对面的巷子（要穿过马路会被抄近道追上）的选择，Hunter第一视角里Preyer从车子到巷子之间闪现留尾巴。
· The shots above the alley are generally well-connected. Use the “Fixed Camera” expression to show Preyer running past and Hunter walking by. Then cut to Preyer being chased from behind, Preyer turning back to run (this is where the contrast between tension and calmness is established), and finally, when Preyer turns around, he finds himself about to hit the wall.
· 巷子上方的镜头衔接一般。试用Fixed Camera表达Preyer跑过然后Hunter走过。接一个Preyer身后追击，Preyer回头看跑（就在这里接紧张vs冷静的对比），到最后一回头发现要撞墙。
· After hitting the wall, he turned around and saw Hunter looking even more terrifying. He quickly moved closer to get a close-up shot of Hunter’s face.
· 撞墙后回头看到Hunter更恐怖一点，快速迫近到大脸特写。