Storyboard and Transitions

Shot One

Shot one opens with a very low angle shot looking up through the canopy of the trees above. This shot was inspired by the opening shot within the 2010 ‘Predators’ trailer, which was a film that conformed to both the thriller and horror genres. This type of shot immediately creates a sense of insignificance and intimidation within the audience, this coupled with the fact that this image will hopefully be aesthetically pleasing will create a feeling of insecurity and confusion over whether to be positive or negative over it. The camera will begin to zoom out and pan round until it reaches ground level, looking straight on through the trees. The panning will continue to the left, making the whole of this first shot constantly in motion, smooth and therefore eerily calm. The trees create the image of bars, a key sign of entrapment within the conventions of a thriller. We will also be shooting in the mid-afternoon when the light begins to fade, this type of dull and almost lifeless light will add tension to our thriller opening.

Shot Two

The second shot will be of a still pond or flowing stream. The inclusion of water is another key aspect of semiology, signifying life. This shot will be eerily quiet, much like the rest of the opening, to increase tension. The transition between shot one and shot two will be a sudden change, breaking the illusion of tranquillity within the first shot.

Shot Three

Yet again this shot will be a sudden change in terms of transition from shot two and this one. It will be a relatively close shot of the top of a dead tree, with startled crows leaving the tree. The dead tree and the black crows create a strong image of death and fear.

Shot Four

Yet another shot in which the transition is sudden. This shot will be a close shot of a leaf gently fluttering in the wind. This seemingly calm image counters against the previous shot, which was slightly un-nerving and disturbing. Shots two, three, and four are all still shots; there will be no camera movement.

Shot Five

The fifth shot is another panning shot looking through the trees, however the opposite direction this time. As the shot progresses a figure slumped on the ground (dead) is introduced, however the figure is not obviously placed within the shot; it is hidden within one of the corners of the shot. The viewer has to be looking for something abnormal within this scene. Having the body subtly placed also maintains the eerie tranquillity within the opening. This shot then cuts to shot six.

Shot Six

This shot is of the body. The camera will be set very low to the ground, and pan to the left. The shot will continue to pan slowly along the body. This shot will be broken up by four separate flashbacks. Each flashback will be sudden (taking the audience off guard) and very short, each one will be about one second long. The way these flashbacks will be presented to the audience was inspired by the 2008 ‘Dead Space (Twinkle Twinkle Little Star)’ video game trailer.

Shot Seven/Flashback One

This flashback is an extreme close up of a figure in a gasmask, only the eyes can be seen. Blood will be coming from the tear-ducts, creating the question as to whether this figure is real or just an illusion.

Return to Shot Six

The shot then cuts back to shot six where the camera continues panning along the body. The sound within these scenes plays a very large part, during shot six the sound will be quiet and relatively calm, though slightly eerie. In contrast to this the sound within the flashbacks is hectic, disturbingly loud, disruptive and unpleasant.

Shot Eight/Flashback Two

The second flashback (medium close up) is of our main character (the person laying in the woods) walking past the masked figure, completely oblivious to the dark figures presence. Again this poses the question as to whether this eerie figure is real or a figure of the imagination.

Return to Shot Six

The shot once again cuts back to shot six, the camera still slowly panning up the body. These transitions continue until the end of the flashbacks.

Shot Nine/Flashback Three

This flashback consists of a close up/low angle shot of the masked figure raising his/her arm wielding a heavy rock. The victim’s hands are trying to push the attacker away. This makes the audience feel vulnerable and sympathise with the victim.

Return to Shot Six

Shot Ten/Flashback Four

This is a slightly longer shot than the previous flashbacks. However it will be broken up into about five segments, these last few shots will be mixed with shot six again. However, the transition between the two will be very quick, creating a build up to a potential climax. This flashback is a very low camera angle (on the floor) looking at the victim dragging himself towards the viewer. The attacker’s legs are then visible, and you see him/her approach the victim and grab him by the hood/collar.

Shot Eleven

Cutting out of the flashback, in a scene climax the previously thought dead body awakens. In an extreme close up of the character’s face, the eyes suddenly open. This is our red herring within our opening, a key aspect of a thriller.

Shot Twelve

The shot then cuts to a long shot of our character sitting up, looking dazed and confused. The very obvious noise of a branch snapping is heard, and the character looks in that direction and stands up.

Shot Thirteen

Cutting to a shot placed over the shoulder of our character looking into the dark trees, a figure moves very quickly behind a tree. The non-diegetic sound of a person breathing through a gasmask can be heard, making the scene more intense. Another sound is heard from behind the character, he looks towards the camera. This proceeds for a further two times.

Shot Fourteen

The camera begins to pan in a circle around the character, creating a sense of entrapment. The character then begins to walk briskly away, checking his surroundings.

Shot Fifteen

We then cut to a shot looking down a long pathway. Our character steps out facing the camera, this shot will be close up with the character within the left hand third of the shot. He proceeds to walk forward (towards the camera), the camera moves backwards. The camera will probably be handheld at this point, creating movement in the shot, making the viewer feel part of it. He continues for a few seconds. In the same shot, a dark figure (extreme long shot) can be seen stepping out onto the pathway. This is where our opening ends.

END

Cloverfield: Case Study.

Institution

Name: Cloverfield

Director: Matt Reeves

Producers: J.J. Abrams, Bryan Burk

Production Company: Bad Robot Productions, Paramount Pictures

Release Date: January 18^th 2008

Genre: Thriller/Mystery/Sci-fi

Country: United States

Budget: $25,000,000

Gross Revenue: $170,764,026

Run Time: 85 minutes

Audience

Cloverfield’s suited audience is late teens through to middle aged persons, and those who prefer films of the sci-fi and thriller conventions. This chart (taken from IMDb.com) shows both the age groups and genders of people who rated this film. As you can see, the film was most popular with viewers aged under 18, and least popular with women aged 45+. In regards to the reviews, there were 2,025 in total. These reviews were varied, some positive, quoting “Constantly driving you to the edge of your seat at every turn, the first great monster film of the century.” and then some negative, such as “Disappointment doesn't even begin to describe how the audience felt.”

Technology

The biggest aspect that sets this movie aside from many others is the almost lacking in the latest technology. Cloverfield adopts the ‘point of view’ theme throughout the entire film, engaging the viewer and making us feel as though we are actually there with the mortified characters of New York. What the camera sees is all the audience sees, and all that the audience is able to process. However, this lack of information has sparked much discussion throughout the globe, making it the huge success that it is. Another technological aspect adding to this alienation of the viewer, is the lack of music and non-diegetic sound. A big feature to this film is the CGI involved in order to create the monster itself, the amount that CGI has evolved enables the creators to really bring this creature to life, and make it incredibly realistic and believable.

Codes/forms and Conventions of the Thriller Genre

 This picture is from a scene within in the film where the small group of characters are trying to make their way to the underground tunnel, however they soon find themselves caught in the middle of a hostile attack by the US Army on the creature destroying New York. As you can see, despite the fact that the film is in point of view throughout the whole run time, key thriller conventions are still very cleverly included. One of these key signs of a thriller is the street lamps, illuminating the street and the good characters that are the US soldiers. The camera angle is very low, portraying defeat and vulnerability within the characters. As in the whole film, this scene only includes diegetic sound, sounds of gunfire and panic, further alienating the audience. The scene is in the middle of the street, a confined space that creates a sense of confinement and ‘no escape’. This film fits the ‘thriller’ genre perfectly. The point of view camera work makes sure that the audience is constantly immersed in the action that is unfolding in front of the characters eyes. The lack of non-diegetic sound creates a sense of alienation, and the shaky camera work disorientates the audience, creating much confusion and slight panic. All of these emotions are essential to a successful thriller, and this film induces an abundance of them. The narrative structure is very simple, everything is chronological, as this film is almost a documentation of an event. However, there are very short little flashbacks, where the tape cuts out every now and again and plays previous footage on the tape; this disorientates and confuses the viewer.           

Analysis of Thriller Openings.

(Gothika 2003)                                

‘Gothika’ is immediately perceived by the audience as a thriller within the very first scene, its strong use of semiology and other effects establish that this film lies within the main genre of a thriller. Firstly, before the film even begins, the audience sees the genre bleeding into the production; different film companies altering their signature logo to co-inside with the expectations of a thriller. Also, the sound of violins can be heard before anything else, this also gives an eerie, creepy feel to the scene. The first few shots sees a psychiatrist talking to a patient within a mental institute. The dialogue is hostile and disturbing, making the viewer feel un-easy. The setting is dark, enforcing a cold and lifeless atmosphere upon the audience. The bars and grills not only give the feeling that they are to stop something from breaking in or out, but also to make the viewer feel as though they shouldn’t be there, and that they are intruding in what should be a private matter.

(Brick 2006)

The opening scene in ‘Brick’ is full of semiology in order to identify the film as a thriller. One of the first things you see is running water (a key sign of a thriller, signifies life being washed away) next the eye is drawn to a body, introducing death into the mix. In another shot, the character is in a phone booth talking to a girl, the booth is like a box or cage, isolating both him and the girl on the telephone. The girl is clearly distressed and upset, talking about something that the audience cannot quite understand, confusing and disorientating the audience. She says “It’s nice to see you again” giving both the male character and the viewer the eerie sense of being watched. Suddenly a black car emerges, with its engine creating almost a snarl, disturbing the eerie tranquillity of the scene. The colour of the car could signify threat or death, it’s intimidating, and even more so when the girl on the phone becomes panicked and flustered.  

 

(The Book of Eli 2009)

‘The Book of Eli’ opens with dim blue lighting, accompanied by eerie hollow sounding rumbles, almost like the wind. This immediately creates a tension within the scene and the audience, causing them to try and anticipate what is to happen next. The dark, strong figures of the trees represent bars, and a feeling of entrapment. The camera pans onto a gun, a threatening and dangerous sign, putting the audience on edge, as the camera continues to pan a body emerges. This immediate introduction of death creates a strong and mysterious atmosphere within the scene. The scene is slow in its progression, creating suspense and strong tension. Another figure appears, at first it is difficult to identify, but soon it becomes visible that it is a person. The person is wearing a gasmask, obscuring the face making it eerie and mysterious (another key feature of a thriller). The sound of the man breathing is audible, creating further tension within the scene. This tension continues to build and it is clear that the man is in possession of a weapon, and about to fire, however, as he does the scene switches to slow motion. This is a slight anti-climax, but causes the viewer to follow the fired arrow and try to anticipate where it is going. The arrow hits its target in normal speed, disrupting the tranquillity that the audience was falsely granted.      

What have you learnt about technologies from the process of constructing this product?

I have learnt a substantial amount whilst being on this media course, including: how to effectively and safely use a camera, and how to then work with that recorded material in editorial programmes on the computer. Firstly I now have a more in depth knowledge of the recording equipment, and how to use it both properly and efficiently. Knowing the basics have enabled me to be able to work in a more exploratory manor, being able to experiment with different camera angles, and the effects that come with this.

 I have also developed a basic understanding of the editorial programmes used to tweak and perfect footage, making it run more smoothly and effectively. I can experiment with different sound effects, helping to enhance the temperament of the scene or film. I now fully understand how important proper editing is to creating a successful piece.