The Storyboard

The first shot was chosen so that the audience could see the instigator walking into the room purposefully but they would also be able to catch the recipient unawares.

By having only footsteps and the sound of the door handle, tension is created and at this moment in the clip, that is exactly what we are attempting to portray.


The next shot is a close up of the instigator using the door handle. In using the slight creak of the handle, the tension is further increased but it also makes the instigator appear more threatening as it is them that controls the simple cut edit.


The third shot returns to the original angle and this allows for us to be able to create an action match on either side of the door, one shot entering from the back, the other shot from the front. There should still be a feeling of tension within the shot at this point.



The fourth shot is of the instigator entering the room from the front. By tracking backwards until the table is in sight, it allows for the action match in the subsequent shot. We may make this a low angle shot, to further make the instigator more imposing. It also allows us to practise our tracking shots.


The fifth shot is of the papers with the photographs on being flung onto the table. This might be difficult to shoot, but I am certain that the practise will do us good. If possible, I think it would be quite cool to pull off a trick of perspective and make the table seem longer than it is. Unfortunately, that might be slightly too ambitious. Either way, it will certainly be an interesting shot.


The sixth shot will be the first one with dialogue. Hopefully, the actor/actress will be able to convey a decent level of anger, but this will allow us to practise our directorial skills. The hands slamming down on the table is going to be where the clip might start to take on a slightly more comical route to highlight the bizarre nature of the event.


The seventh shot is a reaction shot to No#6. As with all guilty parties, the first reaction is of denial. By having the recipient stand up, it shows the shock of the character, but also if directed well enough could show an attempt to escape.



In the eight shot, we are going to practise our over the shoulder shots and our shot/reverse shots in conjunction with the ninth shot.



The ninth shot does exactly the same job as the eight one, and just continues our practise on those shot types. It will also allow us to practise our control over the 180° rule. When I drew this frame, I might have broken the rule, but this can be easily fixed when filming.


The tenth shot will potentially be the final shot. This will allows us to do a zooming close up of the instigator character and although it may be difficult to shoot, it will certainly be an incredibly cool shot.


This eleventh shot may or may not be used in the final cut. I thought it would be a good idea as it would allow us to experiment with the special effects in After Effects, whilst also adding a little comical end to the clip. This may work better as an earlier shot, but I think that it will probably be missed out, as I'm sure some of the other clips will take up a bit more space than we have estimated.