While our outline for the trailer had not been fully envisioned until the start of this term, we has the very basic concept of genre and tone and were aware that we would require a wide range of footage. Thus we made sure we exploited our summer effectively in order to aid the production of the trailer. Both myself and my colleague, Nicholas, were to go on holiday during the summer; him to the far reaches of the world, in Australia, and me to Paris and also the Isle of Wight.
While we were away we brought filming equipment. Nicholas, being the owner of our main camera, captured his footage using the Panasonic HDC-S90, which featured an anti-shake feature and would maintain our established look. I, however, was left only with two options; my cameraphone, the Galaxy Note, which could capture very high quality high definiton but at the expense of stability, a fault exascerbated by my shaky hands (and which I brought with me to Paris), and my sister's iPod Touch 5G which could produce excellent images with perfect stability to boot.
With only a basic idea of what was going to happen in our trailer we weren't ready to record any significant scenes or any dialogue, but instead capture many establishing shots and action shots, with our locations being optimum spots due to the famous landmarks and breathtaking landscapes. In Paris I had the advantage of filming such famous places as the Arc de Triomphe and the Pere Lechaise cemetery, while Nicholas had some stunning cliffs in Australia, and the Isle of Wight had a castle and an exciting multi-coloured sand beach. While much of this footage will probably end up on the cutting room floor due to the somewhat irrelevance to our film's narrative, (and the shakiness in the case of the Paris shots) what will be used, however, will immensely add to the production value of the trailer due to the exciting international locations which demonstrate the lengths to which we have gone to produce it.