Film 4: One Shot of an Event

Photos 8: Movement

This is a photo of me shaking a white pom-pom against my wall.  I found this to be really interesting because of all the lines that the pom-pom makes while it is in movement.  It is a chaotic movement that does not really have any kind of rhythm to it.  I really like the contrast of the tones.  There are only varying tones of white and black here.  The one thing I do not really like in this picture is how grainy it is.  I think all the movement and lighting caused that.

This photo was fascinating to capture.  While taking this photo, I moved my camera quickly from left to right.  This resulted in the light posts, poles, and trees appearing to be slanted even though they are all perpendicular to the ground in reality.  Movement can alter and twist reality: an interesting concept.

This photo is a tribute to autumn.  The red leaves on the right of the frame were falling through the wind when this picture was taken.  I love how the photo is clear except for the leaves, which are blurred by their movement.  I wish I had been able to capture more leaves across the whole frame!

Film 3: Director's Reflection

NAME: Josh Allen

DATE: October 23, 2016

FILM: Shot-for-Shot

DP: Jeff Hein

TMA 285 DIRECTOR’S REFLECTION

Reflect on how your film turned out. Have the courage to evaluate your work not only with a self-congratulatory eye, but also with a critical eye. Step back; pretend the film wasn't made by you. Be exacting. Be demanding. Don't let yourself off the hook. Be completely honest about your performance.

- Turn in a hard copy of this statement the next class session after your film screens

- Upload the statement to Learning Suite the day after your film screens

- Post this to your blog with your film the day after your film screens

Overall response (2-3 paragraphs):

In 2-3 paragraphs, write an overall response to your film: Were you successful at achieving what you set out to achieve? What are you proud of? What would you do differently if you could remake this piece? What did you learn?  

            I was not completely successful with this film.  I wanted to make a really great shot-for-shot of this Teen Wolf scene, and not all of it came out the way I wanted it to.  However, I am proud of all the interior shots.  I feel like those all matched up pretty nicely to the original.  I am also really proud of my casting of Scott; my actor looked so much like him!

            If I could do this differently, I actually would probably do a different scene.  This scene was too complicated since a lot of it was shot at night.  It was also really hard due to having to hang someone upside down.  Therefore, I think that a different scene would have been easier and better.  I learned that it is incredibly hard to re-create a scene like this.  I also learned that you have to be really careful when composing shots.  It is easy to get bad footage.  Composition is really important in making things work.

Briefly answer the following:

What, specifically, did you want to communicate? Were you successful? Why? Why not?  I wanted to show how fun and refreshing Scott and Stiles’s friendship is.  Friendship is really important to me, and I really admire theirs.  I think that I was pretty successful.  Members of our class smiled and laughed while watching it, and their relationship is joyful.

How, specifically, did you try to say this? What visual elements, techniques, etc. did you use?  I used muted colors so that the brightest thing on the screen would be the personalities and relationship of the characters. 

What did you learn about storytelling:  It is really interesting telling a story that has already been told.  I learned that nothing can really be reproduced or recreated.  I think that’s amazing: we can only get one of a specific performance.

Working with actors and getting performance: Some actors try to hard.  Others are perfect for certain parts and really fit nicely.

Blocking — camera and actors: It is really hard to get a nice dolly shot without a dolly!

Visuals — composition, framing, visual elements: Sometimes it is impossible to get certain things out of frame (like the playground).  Composition and positioning of characters really does speak volumes.

Design & Art Direction: Basically, here I learned to never use two different locations that look nothing alike!  I mean, I knew that previously, but I will not make scenes in the future that cannot be successful due to what is seen around the actors.

The Production Process — collaboration with crew, the logistics of making this piece: Jeff was really willing to be helpful while making this, and that was appreciated.  Communication to the DP is really important to get the shots that I want.

                  

What was it like to watch your film with an audience? Did they understand it? Miss the point? Why did they respond the way they did?  

It was honestly not extremely fun to watch this with an audience.  Some of it was exciting, but it was mostly a trainwreck.  I think people enjoyed it more than I did.  For the most part, I think that the class understood the point of the scene and were able to get familiar with these characters, which is what this scene was trying to accomplish.

Other observations:

Film 4: Director's Statement of Intent

Film 4: Director’s Statement of Intent

1.     This scene will showcase a group of people playing “Go Fish,” the card game.  Essentially the story will be the game and friendship.

2.     Since there is not a larger story to this scene, this would be a scene that could either create tension amongst the characters or be a scene of comic relief. 

3.     I want to create emotions of nostalgia, of happiness, and of fun.  Playing a card game should be fun.  However, I also want there to be a sense of urgency because every player is trying to win the game.

4.     This scene is personal to me because I am intrigued by the pacing of card games.  There seems to be this energetic rush when you play a card game, and there is a sense of urgency.  Playing games with people (board and card games) was a huge part of my life growing up.  I played games with my family, and I learned many things through playing games.  I used to get so angry when I would lose.  Through the continuation of playing games and growing older, I have become more mature.  Therefore, this is important to me.

5.     I want the audience to see who wins; therefore I will be filming an entire game, probably two.  I want the audience to feel urgency and excitement to see who wins.  I plan on doing this through visual elements, which I will discuss next!

6.     I plan on using movement and rhythm in this film.  I will be moving around the game in a continuous circle throughout the whole film, meaning that the camera will constantly be moving.  Through this movement, I hope a certain rhythm will be established through the game itself.

7.     This scene could be difficult to keep stable.  Therefore I am planning on using either a steadicam or the wizard.  I have a hard time with stability so this will be a fun challenge!  Also, it could happen that the game is not exciting enough.  Although I cannot give direction, I am going to film people that I know love to play games.

Film 3: Shot for Shot (Teen Wolf)

Original Scene

Shot-for-Shot Scene

Photos 7: Color

I love this first photo.  There are so many colors and it just fascinates me!  The blue sky, the green trees and grass, the brown mountains, and then of course the red tree right in the middle.  The red tree provides so much contrast as one of the more warmer colors.  Many of the other colors compliment it, too.  I only wish that there were not any people in this photo, but it was in the middle of the day.

I took this picture because I was fascinated with how muted all the colors were.  I think there is some strong affinity going on in this photo, considering how nothing really pops (except for maybe the red lights).  I think the mountain is beautiful lit, and the cloudy sky makes the photo even more muted.  I love the lines from the cars, but I kind of wish they were not there.

I took this photo towards the end of the day.  I love the light yellow streaming into the sky from the sun.  It is really stunning, and it stands out from the darkness of everything else.  The color just really took my breath away.

Film 3: Shot for Shot Analysis Part 2

Lined Script:

Overhead Drawings:

Photos 6: Tone

I took this picture because I really liked all of the different representations from the gray scale.  There is the different shades of white on the wall and the posters.  There are also many different shades of gray.  Then you also have the blacks in Maleficent.  Essentially, I love the lack of color in this photo that was not even taken in black and white.  

 This photo has a huge contrast between black and white, the opposite ends of the gray scale.  The white light and its rays stand out in harsh contrast to the black night.  There are many different grays and whites around the light that fade into black, which I think is kind of neat.  I am not completely happy with the quality of this photo, but it is interesting nonetheless!  

I took this photo because I was fascinated by the detail in the tiles.  Upon close inspection, there are little black dots scattered all throughout the tile.  I thought this was rather beautiful.  The lines in between the tiles (and the tiles themselves) have many different shades of gray.  It is tonally diverse even though it looks so plain from a distance.  

Shot for Shot 1 - Analysis

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 1

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 1A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   The house.

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Dolly towards house.

1c) What does the audience come to understand because of this shot? Someone lives here.

2a) Shot size (CU, W, etc.):  Medium wide

2b) Angle (High, Low, etc.):  Low

2c) Focal length (lens in mm; best guess):  24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Steadicam.

2e) Composition, framing, camera movement, etc.: Dolly in.  House is centered.

3) Describe the use of lighting: Moonlight/daylight on side of house.  Dark.

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Vertical lines in house and tree.  Flatter space.  Muted colors show nighttime in a neighborhood.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  The image’s purpose is to establish Scott McCall’s home.  This is the beginning of the introduction of his character.  Many scenes are shot throughout the series in this house.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 2

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 1B

 

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott’s window and Scott.

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Dolly through window. Scott works on lacrosse stick.

1c) What does the audience come to understand because of this shot? Scott is athletic. He has his own space.

2a) Shot size (CU, W, etc.):  CU on window, Medium wide on Scott.

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Steadicam

2e) Composition, framing, camera movement, etc.: Window centered. Dolly through the window. Scott on the right on the third.

3) Describe the use of lighting: Cool lighting outside. Warm light inside.

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Some deep space, with window, Scott’s room, hallway.  Warm colors: they match Scott’s personality.  Small movements by Scott.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This is when we first see Scott McCall, the main character.  The space is warm, like his personality.  He’s doing something that he loves: getting his lacrosse stick ready for the next day.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 3

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott McCall and his lacrosse stick.

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Scott threads the netting on his stick.  

1c) What does the audience come to understand because of this shot?  Scott is capable.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.): High

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott on the third; stick in the center

3) Describe the use of lighting: warm, lower lighting

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space: we are up close and personal with Scott.  Muted colors, not a huge diversity. Nice diagonal line from string

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This establishes a relationship between Scott and the viewer.  Haven’t seen his face yet!  Important choice.  We will be seeing lots of Scott, so this needs to be and important scene.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 4

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott McCall and his lacrosse stick

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott threads the netting on his stick.

1c) What does the audience come to understand because of this shot? Scott is capable.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  High

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott on the third, right. Stick on third left.

3) Describe the use of lighting: warm, lower lighting.

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Still muted, warmer colors.  Flat space keeps us close to Scott.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

We are still establishing the relationship between Scott and the viewer.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 5

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott’s hands and lacrosse stick.

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Scott threads his lacrosse stick net.

1c) What does the audience come to understand because of this shot? Scott is capable. He’s also human: no claws!

2a) Shot size (CU, W, etc.): Extreme CU

2b) Angle (High, Low, etc.):  Eye level, side

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: centered on the action

3) Describe the use of lighting: lower, warm lighting

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Muted colors: look how normal his life is! GREAT diagonal line from string.  These series of shots have a fast rhythm: Scott can accomplish this quickly.  Lots of practice!

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This again shows some of Scott’s character. He is dedicated to making sure his stick is ready for practice!

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 6

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2D

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott’s hands, lacrosse stick

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Scott threads the net.  

1c) What does the audience come to understand because of this shot?  Scott is capable.

2a) Shot size (CU, W, etc.):  Extreme CU

2b) Angle (High, Low, etc.):  Eye level, side

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: centered on the action

3) Describe the use of lighting: lower, warm lighting

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Continuation of muted colors and fast rhythm

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  Continuation of Scott’s establishment of character. 

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 7

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2E

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott’s fist and lacrosse stick

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Scott tests the strength of the net with his fist.  

1c) What does the audience come to understand because of this shot? Scott is careful: he makes sure things work.

2a) Shot size (CU, W, etc.):  Extreme CU

2b) Angle (High, Low, etc.):  Eye level, side

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: action on the third

3) Describe the use of lighting: low lighting

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Colors are still muted to accent the normalness of Scott’s life… for now.  Fast rhythm is continued.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This shows more of Scott’s character: he pays attention and is careful.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 8

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2F

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and his lacrosse stick

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott tests his stick’s net with his fist.

1c) What does the audience come to understand because of this shot? Scott is careful.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  High

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: action on left third, Scott on right third

3) Describe the use of lighting: continuation of lower lighting

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Muted colors continue, fast rhythm continues, flat space continues: up close and personal

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This continues to solidify Scott’s character.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 9

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2G

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott’s hands, lacrosse stick, and lacrosse ball

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott is testing the nets strength with a ball

1c) What does the audience come to understand because of this shot? Scott double checks things: first his fist, now an actual ball

2a) Shot size (CU, W, etc.):  Extreme CU

2b) Angle (High, Low, etc.):  Eye level, side

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: action on the third

3) Describe the use of lighting: Low lighting

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space galore.  Muted colors and rhythm continue

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This shows Scott’s dedication; he double checks things.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 10

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 3A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.) Lacrosse stick on bed, Scott on background 

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Scott throws his stick on bed, and moves towards his bathroom  

1c) What does the audience come to understand because of this shot? Scott is moving on to something else

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  Low

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott in background on third, stick centered

3) Describe the use of lighting: lower lighting, kind of cool

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space as we stay on the stick.  Colors continue to be muted to show Scott’s normalcy

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? Lacrosse is important to Scott, so we stay on the stick.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 11

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 4A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott’s hands, pull-up bar

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Scott grabs the bar

1c) What does the audience come to understand because of this shot? Scott is athletic; cares about his body (his NORMAL body)

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  High

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: hands on thirds – cool!

3) Describe the use of lighting: lower lighting, nice shadows, bathroom is bright

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Continuation of flat space: personal with Scott.  Muted colors and fast rhythm continue.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This shot is used to show Scott’s dedication to sports.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 12

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 4B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott’s feet

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Scott is doing pull-ups

1c) What does the audience come to understand because of this shot? Scott has control over his body

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  low

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): floor

2e) Composition, framing, camera movement, etc.: Feet are centered 

3) Describe the use of lighting: Low on Scott, bathroom is well lit

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

A little bit deeper space: converging lines on floor, door and walls, etc.  Fast rhythm and muted colors continued.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This image shows Scott’s prowess.  We are learning more and more about his character.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 13

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 4C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Scott does pull-ups

1c) What does the audience come to understand because of this shot? Scott is athletic and motivated

2a) Shot size (CU, W, etc.):  Med. CU

2b) Angle (High, Low, etc.):  High

2c) Focal length (lens in mm; best guess):  50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott is centered

3) Describe the use of lighting: bathroom is bright, darker on Scott

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Diagonal lines from doorway.  Horizontal and vertical lines from bar.  Flatter space, we are closer to Scott.  Muted colors and fast rhythm continue.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This continues to tell us about Scott’s character.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 14

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 3B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)  Lacrosse stick, Scott in background

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott does pull-ups in background

1c) What does the audience come to understand because of this shot? Scott is working hard to accomplish goals

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  Low, eye level with stick

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Stick in center, Scott close to third

3) Describe the use of lighting: lower lighting

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, muted colors, and rhythm continue

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This shows us why Scott is doing pull-ups: he wants to be in perfect shape for lacrosse.  He wants to make the team.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 15

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 4D

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Scott does pull-ups  

1c) What does the audience come to understand because of this shot? Scott is working really hard to achieve his goals

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  High

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Centered on Scott

3) Describe the use of lighting: low on Scott, bright in bathroom

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Diagonal lines in doorway again, muted colors and fast rhythm

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? The director is showing Scott’s persistence.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 16

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 4E

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott’s feet/legs

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott jumps down

1c) What does the audience come to understand because of this shot? Scott is done doing pull-ups

2a) Shot size (CU, W, etc.):  Med. wide

2b) Angle (High, Low, etc.):  low

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): floor

2e) Composition, framing, camera movement, etc.: Scott is centered

3) Describe the use of lighting: Low on Scott, bright in bathroom

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Deeper space again, with doorway and bathroom.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This is a neat way to show that Scott is done.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 17

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 5A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott, toothbrush

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott brushes his teeth

1c) What does the audience come to understand because of this shot? Scott cares about hygiene.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  eye level

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott is centered

3) Describe the use of lighting: Medium lighting

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space: we are really close to Scott now.  Muted colors and fast rhythm continue

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? I think this continues to show us the kind of person that Scott is.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 18

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 5B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)  Scott’s hands, the sink

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Scott gets water in his hands  

1c) What does the audience come to understand because of this shot?  Scott is rinsing

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Handheld

2e) Composition, framing, camera movement, etc.: Faucet on third

3) Describe the use of lighting: Medium lighting, nice shadows

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space continues, fast rhythm and muted colors continue

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This keeps us close to Scott; we are very much invested in him.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 19

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 6A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.) Scott rinses his face   

1c) What does the audience come to understand because of this shot? Scott is clean, cooling down

2a) Shot size (CU, W, etc.): CU

2b) Angle (High, Low, etc.):  low

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott’s face is centered: really interesting framing

3) Describe the use of lighting: lower lighting

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Muted colors, fast rhythm continue.  This is very montage.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? We are getting familiar with Scott’s space and with him

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 20

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 7A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Scott hears a strange sound, and stops what he is doing.  He looks up.

1c) What does the audience come to understand because of this shot? Scott is wary of strange sounds and things out of the ordinary.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott’s face is centered.

3) Describe the use of lighting: Medium lighting

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

The colors are still very muted.  The rhythm has a HUGE change here.  Everything slows down.  The mood is getting darker and serious.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This is the big reveal!  Here is Scott finally!  We know a lot about him, and now we finally get to see him.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 21

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 8A

 

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.) Scott turns around.  

1c) What does the audience come to understand because of this shot? Scott is curious about the noise he heard.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott on the third.  Focus grab

3) Describe the use of lighting: medium light; pale

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space: we are right up near him again.  Muted colors that still emphasize his normal life.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

This image helps reveal the face of the main character.  It also sets the stage for the upcoming events where Stiles startles Scott.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 22

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Scott steps out onto his porch to see what made the noise.  He is armed with a baseball bat.

1c) What does the audience come to understand because of this shot? Scott is courageous.  He also protects his home.

2a) Shot size (CU, W, etc.):  Medium wide

2b) Angle (High, Low, etc.):  eye level

2c) Focal length (lens in mm; best guess): 24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott is on the third

3) Describe the use of lighting: Lower light, more blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Colors are now blue, they have changed from the golden color in Scott’s room.  They are still muted.  Lots of vertical lines

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This shot sets the scene for this upcoming moment where Stiles scares Scott.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 23

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Scott carefully and slowly moves forward.

1c) What does the audience come to understand because of this shot? Scott is careful and wary.  Something is about to happen.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  eye level

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott on the third

3) Describe the use of lighting: low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Some tonal separation.  Vertical lines.  Colors are muted

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This shot builds suspense for what’s going to happen next.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 24

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Scott moves towards the railing. 

1c) What does the audience come to understand because of this shot?  Scott isn’t afraid to look around.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Camera pans to follow Scott

3) Describe the use of lighting: low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Lots of lines: vertical and diagonal create feelings of tension.  Colors are still muted.  Rhythm has been slower paced.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This shot moves Scott to the spot where Stiles will pop up… Or down, rather.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 25

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 10A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Stiles falls down right in front of Scott.

1c) What does the audience come to understand because of this shot? Someone was there.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott on the third, left side.  Stiles on the right third.

3) Describe the use of lighting: low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space: Stiles is right in front of Scott!  Colors are still muted.  Rhythm picks up here.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This shot was meant to startle Scott and the audience.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 26

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9D

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)  Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Scott screams as Stiles drops down. 

1c) What does the audience come to understand because of this shot? This frightened Scott, but it’s just another person.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  eye level

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: The boys are on the thirds, left and right.

3) Describe the use of lighting: low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Muted colors, fast rhythm.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This shot introduces the viewer to Stiles, a lovable and hilarious character.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 27

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 10B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott is freaking out with his bat raised.  Stiles is also screaming.

1c) What does the audience come to understand because of this shot? They both scared each other.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.): Eye level

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Boys are still on the thirds

3) Describe the use of lighting: low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space: they are right up in the action.  Muted colors.  Fast rhythm

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This is used to create humor after a somewhat startling entrance made by Stiles.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 28

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 11A

 

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Stiles and Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Stiles freaks out seeing Scott with a bat

1c) What does the audience come to understand because of this shot? Stiles is also terrified.

2a) Shot size (CU, W, etc.):  Medium CU

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Stiles on the third (this whole part is shot/reverse shot)

3) Describe the use of lighting: low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Fast rhythm, flat space, muted colors: Stiles life is similar to Scott’s.  Pretty normal.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This shot reveals Stiles’ face.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 29

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 10C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Scott demands to know what Stiles is doing.

1c) What does the audience come to understand because of this shot? Scott knows Stiles.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Boys on the thirds, shot/reverse shot

3) Describe the use of lighting: low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space: we are right up in this conversation.  Muted colors, rhythm slows down.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

This shot is important because it establishes a relationship between these two characters.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 30

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 11B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Stiles and Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Stiles explains what he is doing, Trying to get Scott’s attention.

1c) What does the audience come to understand because of this shot? These two know each other very well.

2a) Shot size (CU, W, etc.):  Medium CU

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Stiles on the third

3) Describe the use of lighting: low lighting, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Very flat space.  This conversation becomes more personal.  Muted colors, slower rhythm.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? The purpose of this shot is to further establish the relationship between Scott and Stiles.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 31

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 10D

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott tells Stiles that he thought he was a predator.

1c) What does the audience come to understand because of this shot?  Scott is perhaps a suspicious person.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Boys on the third

3) Describe the use of lighting: low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Space is flat, colors are muted.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  As a continuation of their conversation, this shot continues to show us these two characters.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 32

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9E

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)  Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Stiles starts explaining why he came to Scott’s house. 

1c) What does the audience come to understand because of this shot?  Stiles goes to Scott when he finds out things.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Boys on the thirds, focused on them.

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Slower rhythm, not super flat

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This shot continues to establish their close relationship.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 33

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 11C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)  Stiles and Scott 

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Stiles continues to hang there and tell Scott about what he heard on his dad’s police radio.  

1c) What does the audience come to understand because of this shot? Stiles’ father is a police officer.  Stiles is sneaky.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Stiles on the third, focusing on him

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, muted colors.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? Stiles is hanging upside down during this whole conversation because he is a funny character.  This is a perfect introduction for him.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 34

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 10E

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Scott asks Stiles about the message.

1c) What does the audience come to understand because of this shot?  Scott takes Stiles seriously, and this seems to be a common thing.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Boys on thirds

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Muted colors, slower rhythm, flat space

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This shot shows that Stiles is important to Scott.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 35

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 11D

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)  Stiles and Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Stiles tells Scott that two joggers found a body in the words.

1c) What does the audience come to understand because of this shot?  Stiles is fascinated by morbid situations.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.): Eye level

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Stiles near the third

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, rhythm picks up slightly.  Muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This helps us understand Stiles’ character a little better.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 36

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 12A

 

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Stiles jumps down from the roof.  

1c) What does the audience come to understand because of this shot?  Stiles is adventurous.

2a) Shot size (CU, W, etc.): Medium wide

2b) Angle (High, Low, etc.): Eye level

2c) Focal length (lens in mm; best guess): 24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott is on the third

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Deeper space, muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This shot was to get Stiles down from the roof, simply enough.  Music intensifies: it’s a dead body.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 37

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 10F

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott asks if it’s a dead body.

1c) What does the audience come to understand because of this shot? Scott double checks things, he’s maybe a little slow

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Lower

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott on the third, drawn to him

3) Describe the use of lighting: Lower light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat-ish space, muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? Scott is looking down on Stiles: he is the main character after all.  But Scott’s not the brightest person either.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 38

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 13A

 

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)  Stiles (and Scott)

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Stiles messes with Scott, climbs over railing. 

1c) What does the audience come to understand because of this shot? Stiles is sarcastic.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  High

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Camera tilts up with Stiles

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, rhythm picks up, muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  Stiles is Scott’s best friend, the sidekick.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 39

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 14A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)  Stiles finishes jumping over railing.  Scott asks more questions.  

1c) What does the audience come to understand because of this shot? Scott likes to know exactly what he’s dealing with.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Eye-level

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Camera shakes when Stiles jumps on porch, Scott on third

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Vertical lines behind Scott, muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This sets up the scene for the rest of Scott and Stiles’ conversation.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 40

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 14B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.) Stiles and Scott 

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Stiles gives Scott some more information on the body.

1c) What does the audience come to understand because of this shot?  Stiles hears everything.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Stiles near the third

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Deeper space, muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  Shot/reverse shot of Scott and Stiles’ conversation

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 41

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 14C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott asks Stiles what the police are looking for if they already found the body.

1c) What does the audience come to understand because of this shot? Stiles hasn’t told Scott everything yet.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott on the third

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Vertical lines behind Scott, muted colors, flat space

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

This shows Scott’s confusion as to what Stiles is getting at.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 42

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 14B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Stiles and Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Stiles tells Scott that only half of the body was found.

1c) What does the audience come to understand because of this shot? Only half of the body was found.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Stiles in center

3) Describe the use of lighting: low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)? This shot sets the scene for the next part of the episode: Scott and Stiles are going to go find the body.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 43

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 14C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Scott’s reaction to only half of the body being found.

1c) What does the audience come to understand because of this shot? Scott is impressed by this news.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Scott on the third

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Vertical lines behind Scott, muted colors, flat space

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This shot tells us something about Scott; he’s not afraid of bodies that have sliced in two.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 44

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 14B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Stiles and Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Stiles tells Scott that they are going to go look for the other half of the body.

1c) What does the audience come to understand because of this shot? Stiles likes solving mysteries.

2a) Shot size (CU, W, etc.):  CU

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Stiles near the third

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This image helps capture more Stiles’ character: he’s adventurous and funny.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 45

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 15A

 

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Beacon Hills Preserve sign

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   A Blue Jeep pulls up to the reserve.

1c) What does the audience come to understand because of this shot?  Beacon Hills is the location.  It has a preserve that is off limits after dark.

2a) Shot size (CU, W, etc.): CU to Medium

2b) Angle (High, Low, etc.): Level with sign

2c) Focal length (lens in mm; best guess): 50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Steadicam

2e) Composition, framing, camera movement, etc.: Dolly out

3) Describe the use of lighting: Low light, blue; sign lit by car

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Vertical lines from trees, horizontal lines from sign, muted colors, some deeper space

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This images purpose is to set the scene for the next part: the exploration of the preserve.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 46

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 15B

 

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)  Scott, Stiles, and the Jeep.

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Scott and Stiles get out of the Jeep and head into the preserve.

1c) What does the audience come to understand because of this shot? Scott is hesitant, Stiles is excited.

2a) Shot size (CU, W, etc.):  Medium wide

2b) Angle (High, Low, etc.):  Low

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Steadicam

2e) Composition, framing, camera movement, etc.: Dolly in

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Lots of vertical lines from trees, deep space,  muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This image provides some humor and also preps the viewer for an exciting adventure.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 47

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 16A

 

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Scott and Stiles

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)    Stiles leads Scott through the forest.  They talk about Scott’s ambitions for lacrosse during the upcoming year.

1c) What does the audience come to understand because of this shot?  Scott has big dreams.

2a) Shot size (CU, W, etc.):  Wide

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Steadicam

2e) Composition, framing, camera movement, etc.: Tracking dolly that follows Scott and Stiles from the side, Scott and Stiles remain on the third

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Lots of vertical lines to represent the ominousness of the forest, deep space, muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This shot shows how far Stiles and Scott venture into the forest.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 48

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 16B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.) Stiles and Scott 

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Stiles mocks Scott while they walk

1c) What does the audience come to understand because of this shot? Scott is not a very good lacrosse player.  Stiles is sarcastic.

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Steadicam

2e) Composition, framing, camera movement, etc.: Camera follows them

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Vertical lines, muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This image shows more of their relationship.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 49

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 16C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)   Stiles and Scott

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)   Stiles mocks Scott, and Scott laughs.

1c) What does the audience come to understand because of this shot? These two are very close

2a) Shot size (CU, W, etc.):  Medium

2b) Angle (High, Low, etc.):  Eye level

2c) Focal length (lens in mm; best guess): 35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.): Tripod

2e) Composition, framing, camera movement, etc.: Boys on the third

3) Describe the use of lighting: Low light, blue

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Vertical lines, muted colors

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?  This shot again serves to show their relationship as well as move the story along.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.