Independent Research: Storyboarding

I particularly like this video because not only is it easy to watch due to its humour, but it teaches us on how to storyboard our own films. It gives a brief history of storyboarding and then advice is given by students, so they can help with problems I might encounter. Also, you can subscribe to his, Indy Mogul's, channel for further advice for DIY film makers.



I like this video because it shows professional film makers sharing their knowledge on storyboarding and they also give motivational advice.

Research on Storyboarding

Why storyboarding is an essential part of the film making process

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  It allows the director to visualise his shots, which saves time and money on set or on location.
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  It is able to check for possible problems with shots, especially for sequences involving action, special effects or complex camera movements.
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  It allows the actors to see what they are suppose to be doing in the shot, which also saves time and money.
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  It depicts the mise-en-scene much more clearly than a script, which helps the film director and director of photography discuss the components of the shot (camera position, lighting, people and composition).
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  It visually shows the narrative flow of a film, which means that flaws in the plot can easily be seen.
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  It helps editors since the storyboard shows the order of shots in a sequence, aloowing them to see clearly where to cut each shot.

'P' is for 'Psycho'

 

1) What is happening in the opening sequence of the film?

 

The sequence opens with a WS with low key lighting and low angle to set the eery highly tense scene. This dim lighting will be present throughout the sequence to maintain the cautious atmosphere. The shot fades to a low angle MS of a person, which then slowly tilts upwards to reveal the identity of the character, a man. To keep the opening mysterious and open to questions, a high angle CU with a very slow pan gradually reveals all the objects on a table. The audience is then forced to question who this character is, what his profession is and what his motives are.

 

The shot cuts to a CU of plug hole with a stream of blood flowing down it. The deep crimson of the blood would stand out against the white sink, further adding questions about this character. This colour semiotic highlights themes of confusion, danger and death. We then see that this blood comes from an incision on the character's hand; this is also highlighted by the caption "bandage-wrapping". This CU is like a POV shot to allow the audience to be "in the shoes" of the main character. The shot then cuts to a mirrored shot of the bandaged hand, however, now it is clenched in fist, indicating rage and aggression. The shot tilts up to reveal the character's face, however this is only for a short moment since the character turns their head very quickly; this hightens the tension.

 

A boy enters the room behind the main character. We then see the man "tuck a gun into his belt". There is another cut to an ECU of the man's eyes. Shadows are created through low key lighting to make the man appear more sinister. In the caption there is dialogue, "BAD MOVE, KID..." The shot fades to black and there is a short pause. Then suddenly there is a loud "BANG! BANG!" the sound of a gunshot.

 

2) How is the narrative flow established?

 

The narritive flow has been established through a variation of cuts, tilts and mix transitions to control the pace and present the film with coherent and professional aesthetics. For example, a tilt has been used to connect the shots of the man's lower body and his upper body to slow the pace of revealling the character. This adds tension and a certain cautiousness making the read think, "do I really want to see this person?"

 

3) If you were directing this sequence, what aspects of the storyboard would you like to change?

 

If I was directing this storyboard, I would ensure that we don't see the man's face until the final moments of the sequence, i.e. I would remove or change shots revealling his face (such as shots 3, 8 and 10) to a silhouetted image of his facial features. This would further add to the tension since the identity of the "psycho" is open to question by the audience. I would, however keep the shot of the ECU of his face to leave a distorted image of the man's face in the mind of the audience, like in the psychological horror Paranormal Activity.

 

I would add to the caption of the first shot that the grading of the film is to be in black and white with a high exposure to pale colours to create a dreamlike quality to the film; this would add to the psychological nature of the film.

Analysis of a Film Still

1) Describe your shot and identify in what way it could be described as representing your chosen genre.


This shot is a CU, straight shot, however of low positioning, showing a Caucasian male strumming a bass guitar. There is intense artificial spotlight lighting from the upper left, casting a shadow going downwards and right. This lighting gives emphasis on specific features in the still, including the silver knobs, the silver metallic strings and the bracelet with the guitarists name engraved on individual pieces of metal.


The mise-en-scene shows the guitar having a pale wood grain effect on the body and a much darker wooden effect up the neck containing several silver circles. The guitar in the image is tilted with the hand placed just above the strings to appear as though the character is playing it, and the sparkle of intense light coming off the fret bar helps to achieve that.


This spotlight lighting is intended to comply with the conventions of the genre of drama, since the lighting is concentrated on a very specific area, giving the prop and character significance in the image. Due to this lighting from behind the camera, the area behind the guitar is pitch black, which only helps to focus the viewers' eyes on the action in the still, adding excitement, yet nervousness to the still. These binary opposites are conventions of the drama genre.


The male in this image shows only his right hand, poised in the position of playing the guitar. By not showing the character's face, I'm evoking tension and a certain anxiousness, conventional features of drama.


The tilt of the guitar and position of the hand is the traditional method in holding and playing the guitar, so this had to be kept clear. The fact that we are very close to the guitar allows us to concentrate on the music that would be playing, adding emotion to still.


2) What did you actually do to achieve the effect?


Firstly, to achieve the lighting effect, I held a handlight above and quite close to the guitar with no interventions of barn doors or lenses to ensure optimum brightness was obtained.


To achieve the emotion and activity in the still, I used a CU of the main prop and focused on the conventional part of the instrument, i.e. a CU of the guitar body not the neck or tuning pegs.


3) Identify what is successful about your shot.


I feel that the lighting and distance are successful in the shot because they help to portray the semiotics of the drama genre.


4) What would you do differently in hindsight?


If I were to retake the still, I would:

• ensure the character's hand appeared more strained and sweaty to evoke further emotions of intense determination and nervousness. This would further achieve representing the genre.

• lower the angle to add emphasis to the intensity of the situation, portraying that the character is performing at his prime in front of thousands.

• Use even more concentrated lighting, since there appears to be light spilling onto the guitar strap at the end of the body, and the shadow behind the hand, I feel is too soft.

However, a finalised version of this image would look something like this:

Analysis of an Opening Seqeunce: Mean Machine

The film starts by showing the producers of the film ‘Mean Machine’, Paramount and SKA. This establishes prestige and advertisement value in the film industry. The first section of audio is a slashing sound and bass line played over the SKA visual.

Then next scene is filmed in the style of a commercial advertisement. There is a fast zoom into a golden Umbro logo, with a drone in crescendo to breakaway from the opening producers and begin the film with an impact. The main character (Vinnie Jones), dressed like James Bond turns and addresses the camera whilst aiming on handgun down the lens. This connotes action and James Bond allowing the audience to relate and enjoy the comedy. A new character appears, dressed in a white knee length coat like a scientist and says, “Don’t touch anything” after revealing a table of gadgets. Jones sees a football and a pair of Umbro football boots. There is a close up of these items, a pack shot advertising the brand, and then a MLS of Jones holding them. He puts the ball down and, whilst wearing the boots, kicks the ball (there’s a CU of his foot making contact with the ball) into a parked car, causing it to explode. From the moment he kicks the ball there are many quick cuts in shots with a LS showing the overall explosion and a CU of the explosion. The purpose in this quick-cut technique is to quicken the pace to match the action on-screen.

When the Umbro advertisement ends, the camera zooms out and turns, revealing an apartment and then the main character slouched in a chair drinking spirits. He also makes a sarcastic remark. The shot cuts to him walking with a bottle of beer in his hand and then driving a sporty convertible car at high speed. These actions begin to portray the character as a washed-up superstar. Over these visuals the opening credits begin with the upbeat and current (2001) soundtrack.

The police start chasing him and a siren sounds, adding to the action. We then see him in the pub asking for a “large whisky”, indicating that he has personal issues to sort out. In this pub scene most shots are MS with artificial indoor ambience lighting. The police follow him in and arrest him, with Jones assaulting them whilst joking around, adding to the comedic aspect of the film.

The shot cuts to a blackout with only audio from a radio, which informs the viewer of the character’s background and current situation. He is in a moving van so we see moments of light, clearly from lampposts outside, illuminating his face, now showing misery and gloom. This lighting indicates entrapment and social hierarchy i.e. the police are above the superstar. With the radio still playing we are shown the violence in the prison being surprised. Again, the use of quick cut editing and CU creates a lively and tense atmosphere. The overlaying footage grading is slightly grey/blue to create an eerie feeling, along with the sinister music.

The journey ends and we hear dogs barking, heavy rain, an alarm sounding and the movement of an opening barred gate. When Jones steps out the police van he is crowded by several police officers and then there is a CU of a barking vicious looking dog. A police officer, with a trunction in hand, yells instructions at him violently. Jones only nods, frowns and glances up at the building in front. A low angle LS pan shows the prison building with its many barred up windows. The shot the cuts to a frame in a frame silhouette of a disturbing sounding character inside the prison, looking out at the new arrival. He then talks adding to the tension.

As we follow Jones into the prison building we see many more prison guards standing in the courtyard and the gate entrance to the building. There is a high angle LS showing Jones pass through the barred gates and a text overlay highlighting that this film is based on another film called ‘The Longest Yard”. This allows the audience to relate this film to the other film giving them expectations of the film to come.

As Jones collects his new clothes and signs various forms, there is an overlaying drone continuously presenting a tense atmosphere.

A slide transition changes this shot to a LS of them walking down a corridor. A CU reveals the anxiousness on his face and shows to prison guards walking just behind to either side. Before he enters the main part of the prison, the audience is shown some of the people inside so that we know what happens before the main character does. This adds to the wafer thin tension evoked by the film.

A low angle POV shot shows Jones walking up the stairs into a long room, filled with prisoners pointing, shouting and cursing violently at him. As he walks down the corridor we hear shouts of anger towards Jones and we see his reactions to these insults by the cutting to CUs.

The scene cuts to a CU of the Chief Commissioner of the prison. There is a contrast in sounds, angered crowds to quiet conversation and a contrast in visuals, claustrophobic high angle shots to slow moving MS and CU eye level shots. These binary opposites present the juxtaposed classes in the film, the prisoners and the law.