Storyboard:
For our storyboard we went through a few changes near the end of the planning stage in terms of where the gunman who shoots Walter/Person is positioned, from behind the Boss to behind Walter, added dialogue to Walter's character, and some shots near the end of the sequence to help fluidly present this action.
After completing the first version of the storyboards, I went away and compiled a shot list describing them in order of how we will film them. I found out after that this is not the most conventional way of doing a shot list and in the industry it is standard to write them up in order of how they will be edited into the final cut. However, for a small project such as this, it does not affect anything, it is only in feature length films where it can very tricky and overly-complicated if I use this tactic.
Script:
Jackson Veale worked on this aspect of pre-production, as he does have the ability to create a great atmosphere in his writing and is superb with dialogue. There were only a few changes made to the first draft when we changed the position of the gunman in the storyboards.
Props & Costumes
James Murray focused on this area more than Jackson Veale and me, organising props and costumes and doing research for the look of each item. We did help, by bringing our own props and costumes in and contributing opinions on what styles would work or not.
We decided to give Walter a baseball jacket to help show the audience that this man is intended to blend in, he does the fieldwork for the Boss, and he wears more heavy-duty boots to show that he does do some heavy-lifting and is used to being tough situations, but this contrasts with his character at this point of time, in which he is timid and fearful.
The Boss' attire was simple to imagine. We wanted to give him an air of authority, reflected in the wool-jacket and hat that he wears, his glasses blocking his eyes to show no emotion.
Conventions:
We want to use very contrasted lighting in terms of light and dark. There will be very few lights, only the ones focused on the characters and illuminating them. This is a typical lighting scheme for a thriller.
Jackson D –
ReplyDeleteBrainstorm section very general. What representations and effects did you consider? What key moments came out of this planning session? Give a story overview.
Storyboard section also very general. What shots were key decisions and why? What were you going for? (This will feed into your CCR later: what results did you NOT foresee that you would take into consideration next time? Etc)
Shotlist comments are fine, due to consideration of your approach. Pictures have a shadow, which is difficult to read past. New photos please.
Script changes – who was responsible for them? (If not you, don’t worry about it)
Props & Costume – Why no pictures?
Conventions – WHY did you choose to go for the contrast effect? What were you trying to communicate?
OVERALL: 9/20
The planning itself is reasonably exhaustive, yet you need to communicate this on the blog. Get the detail! Demonstrate your awareness of how meanings are created through technical elements and genre conventions.
- T. Marcus