Shot List and Mock Up Storyboards

After the storyboards had been drawn up in neat and organised into chronological order in Henry's folder I then typed up a shot list on Excel in the form of a table so that we could take it to each shoot to double check we had all the shots drafted on the storyboards and tick them off as we went along, this also meant that I could keep this and Henry (cinematographer) could look at his storyboards as we moved from shot to shot. 

This is the shot list after the saturday night shoot notice that annotations have been made throughout the week on this paper. The circled numbers indicate what shots we needed to capture still after this shoot, a constant reminder of what we had to complete. The highlighted shots were what we were aiming to capture that night of shooting acting as a mini schedule. Additional sketches have been made, I believe these were to conceptualise the lift scene in which Adam runs into the lift, we had not storyboarded these originally but felt that they would work better than the previous way we had understood that part of the scene, this happened throughout the filming, as we felt that certain shots were either not needed, alternatively we filmed additional shots when we felt they were necessary these usually took the form of CU shots of Adam's expressions and reactions to what was happening in the scene.  

Below are some of the mock up storyboards the cinematographer and I drew up, to help us gain an idea as to how each scene would look. We drew them up quickly and in rough complete with annotations with speech or directions to the actors. Having filmed in the market before we had a vivid idea of the layout which made it easy to decide where each scene would be shot and in which direction. I helped the cinematographer draw some of these storyboards up in neat for his folder. When approaching the film we both agreed that we would keep the scenes simple in terms of the amount of cuts, angles etc. This style of filming i believe has come from our inspiration from the 'Mama' film we screened in class which was a there minute short shot entirely in one take, which is suggestive of realism. The idea of long takes is something the cinematographer have enjoyed from the film 'The Shining', with shots that capture the precise architecture of the location, with long tracking shots symmetrically framed.    

The sketch on the double page spread below is a birds eye view on the camera movement in the scene that involves characters John Greene and Adam Praed as they discuss the job and the previous night guards suicide in the market. Having a simple camera movement in mind we felt a long track with the camera facing horizontally moving parallel to the two men walking  on the other side of the room would work perfectly, this movement also suggests that the two men are being observed as the camera position is withdraw, acting as the eye of Lily or entity in the market.

In the below mock up storyboard the top left drawing is of the locker room, with a shot reverse shot set up of the two actors and the last shot a wide of the room, the drawing to the left of it is of the opening CU of the locker with a sound bridge. 

The left drawing is Adams security office with his monitors, notice again a simple two different camera angle set up.