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