Pre-Viz review

Thus far, the most difficult aspect on previsualization materials is planning in and around each others schedules. With spring break approaching and the midterm this week, we are finding out that we have to coordinate during the week after we return from the break. One of the more helpful things is pitching our idea in class. This allowed us to rethink our master shot sequence and get a true feel for how the movie should turn out, as well as our shot list and storyboards so that we have the organization of putting it together during the shoot and a plan for the editing. With editing possibly being the longest process we may be in a crunch, unless we film ahead of time. It will be our collective job to finalize our location, equipment, and actors to accommodate our desired time frame in order to complete our task in a timely manner and efficiently.

New Storyboards

Director: Caleb Driscoll
Producer: Molly Rasberry
Director of Photography: Jason Zimmerman
Lighting: Naomi Montes
Sound: Ben Dorton
Budget: $50 ($50 personal, $0 donation, $0 in kind)
SHOT 1
Action: Establishing shot outside of car tracks towards car.
Distance: LS to MLS
Height: Slightly High
Angle: Straight
Light: Low-key
Sound: Ambient sounds
Camera Movement: Track in
Transition: Cut
SHOT 2
Action: Transition to inside of car; dialogue begins
Distance: MS
Height: Eye-level
Angle: Straight
Light: Low-key
Sound: Dialogue
Camera Movement: Track in slightly.
Transition: Cut
SHOT 3
Action: Close-up on the driver as he talks
Distance: CU
Height: Eye-level
Angle: Straight
Light: Low-key
Sound: Dialogue
Camera Movement: Stationary
Transition: Cut
SHOT 4
Action: Shot/Reverse shot of the two talking in the car
Distance: MS
Height: Eye-level
Angle: Straight
Light: Low-key
Sound: Dialogue
Camera Movement: Stationary
Transition: Cut
SHOT 5
Action: Cutaway to ECU of binoculars on dashboard.
Distance: ECU
Height: Slightly low
Angle: Slightly high
Light: Low-key
Sound: Dialogue
Camera Movement: Stationary
Transition: Cut
SHOT 6
Action: Both people leave the car and approach someone near the restaurant.
Distance: MS
Height: Eye-level (inside car)
Angle: Straight
Light: Low-key
Sound: Car doors closing, ambient sounds, footsteps
Camera Movement: Stationary
Transition: Cut
SHOT 7
Action: Camera moves closer to driver seat as the kidnapping takes place outside the car.
Distance: LS
Height: Eye-level (inside car)
Angle: Straight
Light: Low-key
Sound: None/Ambient sounds
Camera Movement: Small track in.
Transition: cut
SHOT 8
Action: Victim is thrown into the car
Distance: MS
Height: Slightly high
Angle: High
Light: Low-key
Sound: Struggling, footsteps, shifting clothing.
Camera Movement: Stationary
Transition: Cut
SHOT 9
Action: POV shot from the perspective of the victim.
Distance: MS
Height: Low
Angle: Extremely Low
Light: Low-key
Sound: Sounds of movement and footsteps as well as car doors opening/closing.
Camera Movement: Reframing to mimic POV
Transition: Cut

Master Shot Role

My role for the Mastershot project is Director of Photography and Lead editor. So far, it is my duty to bring together our director's vision of the 3 minute clip through meticulous camera work and careful editing. Our plan to shoot this sequence is two characters in a car in a discussion about languages. We would like to include elements of natural lighting (possibly shot at night), cutaways of a radio and/or turning up/down A/C, an establishing shot from the back seat of the vehicle. Our 2 shot will be of the two characters sitting in the front of the car waiting to make their move. The over-the-shoulder shots will be from each side of the character's, behind the shoulder of course, responding to each other's comments and questions. As far as editing goes, we would like to pull together the sequence as a quick, time-passing conversation as the characters have an ulterior motive as to why they are together in the first place.

Reflection on Vox Pops and Expert Interview

Overall, the experience shooting the vox pops and expert interview went well. As far as my duties, I learned to get our permits correct and gather talent release forms and found a location after several attempts to find a good one. We were able to find a time to shoot through each of our schedules and our expert's, as well as gathering the equipment, taking care of it and shooting successfully. Although there may have never been a time where a project could've had more shooting we felt as though we had good shots, and archival footage to complete our interview project. We also were able to finish editing and properly transfer our footage. As far as group member cohesion although we had disagreements about the topic at first, we had a good mix of past experience and learned new things from one another that helped contribute to our success for the project.

Production schedule

Our production schedule will be shooting our expert interview on Friday and we plan to have several officers from Flicker, including the president as the highlight interview. We will also plan to shoot our B-roll as well, with footage of, but not limited to: a meeting, archival footage, Flicker students shooting and past projects.

We plan to shoot several officers at one time sitting next to each other in a Flicker office with the president in the center.