Storyboard & shotlist

Shot setups

Scene 1:

1. Extreme long shot of park (establishing shot).

2. Extreme close up of beer bottle being opened.

3. Medium long shot of Dave & Michael on park bench.

4. Medium shot of Michael (dirty).

5. Medium shot of Dave (dirty).

6. Close up of Michael putting his hand on Dave's.

7. Medium close up of Anna (dirty).

8. Close up of Dave.

9. Close up of Michael.

10. Close up of computer screen (dirty).

11. Long panning shot of Dave chasing Michael.

Scene 2:

12. Long/medium panning shot of Dave chasing Michael through alleyway.

13. Medium shot of Dave chasing Michael down street.

14. Long shot of Michael hiding behind bush.

15. Long shot (from behind) of Michael hiding behind bush.

16. Medium long shot of Dave (dirty).

17. Medium long shot of Michael, handheld (dirty).

18. Medium close up of Michael, handheld (dirty).

19. Medium close up of Michael (in flashback), low angle, handheld.

20. Medium close up of victim (in flashback), high angle, handheld.

21. Medium close up of Dave (dirty).

22. Medium close up of knife falling on ground.

22 setups is a lot, and it's more than I would ideally like to do (as I'd rather spend more time getting the perfect take for one setup rather than getting ok takes for lots of setups), but I think it's necessary in order to meet the exam board's criteria to use a "Wide range of camera shots, angles and movement, to establish locations, narrative/topic and representations". To compensate for this (and save time), I will sometimes do multiple shots (e.g. a medium shot and a close up) one after the other, without moving the camera at all and only changing the lens. I will make sure to group shots like these together when I make my shooting schedule. I will also think about which lenses I will be using for particular shots so that I don't have to keep constantly changing lens. I will definitely alter the shot-list slighty, particularly in the chase scene, as I feel that section is very boring at the minute. Stylistically, I opted for a less-is-more approach, and tried to avoid having elaborate, stylised shots merely for the sake of it (which I felt was a weakness of many of the past coursework projects I watched). On set, I'll make sure that I get all master shots and other completely necessary shots first so that if I run out of time for a particular scene, I have these as a backup.