Entry Two – Story-boarding Paranoia

Paranoia and Pre-Production

Pre-Production is a massive part of the filming making experience.  Due to video production often having hard limits in terms of budget and time.  It is massively important to get everything possible done before a shoot in order to ensure that it all goes smoothly.  Also most of the time films are not filmed in chronological order so it is important to storyboard and have shot lists to make sure that everything eventfully gets done and nothing is missing when it comes to post Production.

Our group used the storyboards in order to make sure we had all the shot types required for the task.  The task involved creating a sequence of shots that could be used to storyboard a scene about Paranoia.  This means that we have to set up shots that will convey distrust, anxiety, and panic.  The main reason we are doing this take is so that we can learn to frame the composition and become familiar with Entry One’s Shot Types.

Storyboards

 

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The first series of Storyboards were created by Courtney Neeson to finalise how we would capture our extreme wide and wide shots.  We experimented with placing and using several over the shoulder shots.

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Bochao Chen took a shot at the second storyboard, aiming to create the paranoia of the actor in the scene by placing him in situations where the camera would look like some sort of stalker.  He also experimented with the idea of having the character have a mental breakdown in a corner, however that idea never came to fruition.

story3.png

In my own storyboard I armed to look at both the wide shots and mid shots.  This would also include cut in shots.

The Shoot

Over the course of the next hour our group comprised of myself, Courtney Neeson, Chris Kinkead, and Bochao Chen would try and recreate as many of our storyboards as possible in the hopes of resembling a somewhat coherent story-line.  This also taught us about working in a team and how direction can be hard without first predefining what role each member of the team should have.  The lesson too many chefs in the kitchen, where each member wants to take the story and the shots their own way.  However this is also where we can thrive because communication and the clear explanation of ideas trump disputes our team had with what to shoot first.  One person alone can make a film but four people working together in unison can create something better using their shared pool of experience and creativity.  Each of us on the team took turns on using the camera and setting it up, while others directed the actors in the shot, and the next person worked on scene location.

The above mosaic of images shows our completed story-line in a comic book format.  Our short series of shots worked on creating an open ended tale of a man being stalked throughout the library and into the toilets where the actor came to a realisation before ending.  What that realisation is leaves the audience with an open thread to explore.  Throughout these scenes we have created we aimed to represent as many different shot types as we could.

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Our first shot is an establishing on, from a reasonably low angle and framed to be a wide long range shot showing the main protagonist arriving at the Library.

2

Our next shot would show the character inside the building and going into the library itself.  There is a secondary character on the stairs but the audience might not be completely sure if the protagonist is actually being followed or stalked.  The Shot itself is an overhead high angle long shot.

3

This Shot shows the protagonist in the library looking at magazines in a formal mid shot, however up in the top right of the shot is the shady character that has been following him.

4

This over the shoulder shot is taken from the perspective of the stalker and brings to light the fact that the protagonist is actually being stalked.  This confirmation adds tension to the scene.  The high angle of this shot meant standing high on the table in the library in order to get the right perspective.

5

This mid shot shows that the protagonist feels that something isn’t right and that he feels uncomfortable in this situation.  We took out a bunch of books in order to frame this shot through the bookcases.

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This close up shows the stalker now down at ground level looking through the books at the protagonist.  This could be described as a medium close up.

7

The protagonist somewhat aware of some presence stalking him retreats to a lecture room and sits down in the front row.  The over the shoulder shot fromt eh point of view of the stalker helps keep the tension high.

8

We cut in to a close up of the Protagonist’s phone that appears to not be working.

9

Here we go for the close up on the actors face, showing the emotions they are feeling.  Showing the audience that they feel nervious.

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This is taken up to eleven with the bathroom shot as the protagonist becomes fully aware of the stalker and can see them in the bathroom with them.

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The last shot shows the protagonists eyes in an extreme close up fashion, showing that realisation has kicked in and that the character is now determined to deal with the situation.  However what happens next is up for debate as this is where we end our storyboard.

For a final little bit of added effect the images taken were put into Photoshop where they were unsaturated and then given a slight tint of blue.

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