STORYBOARD

Becky, Sam and Ellie

Sequence 1• For this first sequence there will be two cameras.

Both cameras will be positioned adjacently, which will achieve two different viewpoints and will help us to ensure a greater variety of shots.

• Camera one will slowly pan up her body from her waist to her head. Camera one, whilst panning upwards will slowly focus on the dancer. We are doing this to create a ‘bokeh’ effect with the reflected light from the dancers outfit. We also feel a soft, unclear first shot emulates the bizarre sound effects that make up the first section of the song. Camera two will be static and draw attention to the movements of the dancer rather than the camera. Our dancer will be framed centrally and both cameras will be a mid-to-close-up shot.

• The location will be our school drama studio – a large dark room with stage lighting, which we will use to our advantage and to create strong directional lighting and as a result a dramatic tone. The lighting will also be adjacent and opposite to the cameras so that when the dancer faces towards the camera, strong directional lighting will always fall on one side of her face, whilst a second light will consistently be behind the dancer acting as a backlight.

• There will be a basic cut transition during position 2.

Camera Direction

Cam 1

Cam 1

Cam 1

Cam 2

Cam 2

Cam 2

Sequence 2• For this second sequence there will be one

camera. The camera will pan and follow her movement, the camera movements can be seen to the left with the orange circle being where the camera is starting, and the white dots are where the camera will pan to.

• Camera one will slowly pan around her body. We are doing this to follow her body movement and add to the continuity.

• Our dancer will be framed centrally, and our camera will always follow her to ensure she is central. We are focused on her body movements and thus in order to capture them, the camera will move faster than her in several sequences. This reflects that she has been slowed down due to her emotions weighing her down.

• The location will be our school drama studio again. We are going to use the strong directional lighting again, with a red/orange tint to it to show the warmth she first has in her emotion – emulating the beginning of the relationship.

• The lighting will also be adjacent and opposite to the cameras so that when the dancer faces towards the camera the lighting will highlight her silhouette.

Camera Direction

Sequence 3Camera Direction

• The camera begins at a a low angle and then vertically pans, becoming a birds eye view shot, looking down on the dancer. This will connote her innocence and lack of power.

• We are going to try and make or buy something which will help us achieve smoothness in this shot.

• Our other option is to possibly use hand held, however it wouldn’t achieve the desired smoothness.

• The shot type will be a mid to close up shot all above and around her head.

• Dark background• Reflective dress• Strong directional lighting

Sequence 4• This is our most challenging shot within the

music video. The shot type is a 270 degree, bullet time shot. This will be made up of roughly 15/20 cameras (as a minimum), all filming simultaneously, which will ensure and hopefully enable a fluent continuous panning shot.

• We were inspired to do this by the Pepsi Max advert and a particular scene within the Matrix. We have planned to put our own spin on it.

• The shot will focus on the dancer spinning. To ensure a controlled use of camera, we will work hard to make sure that all cameras are equally aligned and have the same focal length.

• Our dancer will be centered throughout in each shot, therefore ensuring continuity.

• Her outfit will include a black dress,• However, we will be bringing a white and

black dress to test trial both to see which one looks better with the background and the lighting.

• Location would once again be in the dance studio, for continuity.

Camera Direction

Sequence 5

• This shot will be a tracking shot, following her dynamic movements

• The shot will zoom out to a long shot, where you will be able to see her full movement and body

• Reflective dress• Black background• Strong directional lighting• Drama studio• Potential studio coloured lights

Camera Direction

Sequence 6

• Static long shot• Tripod • Enables the audience to focus on the

movements and not be distracted by tracking movements

• Black bacgrkound• Strong directional lighting• Reflective dress• Well considered cuts throughout of the

symbolic imagery

Camera Direction

Sequence 7

• This shot will be long shot and will feature a subtle track to the right in a semi circle motion.

• reflective dress• Black background• Strong directional lighting

Camera Direction

Sequence 8

• Tracking close up on her body following and tracking her body movements

• Reflective dress• Black background• Strong directional lighting• Drama studio (featuring some lights in the

background to make the desired ambience)

Camera Direction

Sequence 9

• This shot will be a mid shot and follow her movements again

• Black reflective dress• Black background • Drama studio• Strong lighting (coloured)• Allow the audience to focus on her

movements and expressions

Camera Direction

Sequence 10Camera Direction

• Pan around to a left, following her movement and head

• Strong directional lighting• Drama studio• Reflective black dress• Strong coloured lights focused on

the dancers face• Harsh movements to reflect her

broken state mind

Sequence 11

• Final shot in section one of the first dance scene (solo)

• This shot will be a long shot, which will enable the audience to watch her final moves in full, before the next scene. Enabling the audience to understand and interpret her moves.

• Reflective dress• Drama studio• Strong directional lighting

Camera Direction