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.

Documentary Interview Plan

Our documentary interview plan is to interview Dave Monahan as the expert of Flicker. We plan to shoot our main interview in one of the theaters on campus Lumina or King 101, while finding B-roll of Flicker items, Monahan and other students working on Flicker projects. We have also discussed (although no definitive answer) possibly interviewing other leaders in Flicker at the same time and  have a discussion type interview of 4 or 5 people, with Monahan being the main interviewee. We would like our tone to be informational to those who don't know about and are not aware of Flicker or those who would like to know more about it. Our aim is to inform about Flicker and "inspire our fellow filmmakers to get out and create by watching a group of mixed majors unite in their love of film." Although our group hasn't quite finalized the particulars of the vox pops, we could possibly question students (film) in and around campus with questions such as: 1-what do you know about Flicker, 2-what would you like to know about Flicker, and 3- why do you think students should learn more about Flicker.
10 possible questions for expert Dave Monahan:

1- How did Flicker get started?
2-Why don't many students know about Flicker?
3-Who can be involved?
4-How does one get involved?
5-What is something unique about Flicker that isn't offered by similar groups?
6-What is the purpose of Flicker?
7-How can being involved with Flicker help jump start a film career or path?
8-What types of activities does a student do with Flicker?
9-Where can one get more information about Flicker?
10-Where do you see Flicker in the future?
11- information interviewee would like to add not from interview

Light Observations

My first light observation is a basketball jersey in the morning sunlight from the window. As I woke up, it was the first object I had seen. Entering from a high angle on the left side, it hits the object hard in the bottom right corner because it is laid out further than the rest of the jersey. At the top where the shoulders would be, it also strikes an intense light, but fairly dark shadows underneath highlight the dark yellow/gold of the object. In the center, there is a small part that sticks out that captures the harsh light on both colors of the object. The way the shadows are cast and the angle of the intense light appear upon the jersey, makes it look like a shrine.

My second light observations is a holly bush. Again, the sunlight is coming from a high angle on it's left side. On some parts of the bush, the green leaves seem brighter from the rays. On either side of the bush, the leaves are darker and shadows of leaves that are outside of the bush cover them. A softer lighting in the back of the bush adds to the many shades of greens that as a whole, give the bush a natural, characteristic look. Lastly, it casts darker shadows closer to the ground, and lighter ones higher up behind the bush against the wall.

Storyboard drawings