Author: Hanze Liu

The synopsis of the script is: A young and beautiful woman, on her 18th birthday, invited her friends and her boyfriend to hold her birthday party in a bar. She was chatting and laughing with her friends, and at this moment, she found a person sitting at the bar counter who was out of tune with the people here. From the back, it can be seen that this is an elderly man with a pair of crutches next to him, drinking with his back to the crowd. The girl was very confused, after all, she had booked the entire bar. She quickly walked behind the man and wanted to ask him to go out. At this moment, she realized that this was her father who had gone to the battlefield and now returned to her side. She cried with joy and hugged her father from behind. This was my initial idea. The intention of the whole script was not very clear. It was just a script that I came up with on a whim. I wanted to try to use this script to reflect the cruelty of modern warfare, but from the perspective of the script, the whole story has no ups and downs and lacks conflict.

For project1 and FMP, we are require to create 3 ideas, all the ideas should be drew in storyboard.

First Idea:

Second Idea:

Third Idea:

WORLD BUILDING:

Worldbuilding involves creating an imagined world, often tied to a fictional universe. It includes crafting a setting with consistent elements like its own history, geography, and ecosystem.

Worldbuilding is essential in storyboard creation because it provides a consistent and immersive setting that supports the story’s logic, character development, and visual design. A well-crafted world shapes how characters think and act, influences the plot, and ensures that the narrative remains coherent. It also inspires the visual elements of the storyboard—such as architecture, clothing, and landscapes—helping to create a unified aesthetic. Most importantly, a richly developed world draws the audience in, making the story more engaging and believable.

Mise-en-scène refers to the visual arrangement and design of a scene in theatre or film, including elements like set design, actor positioning, and overall composition. It plays a role in both the visual aspects—such as storyboarding, themes, and cinematography—and the narrative direction of the story.

Every element of mise-en-scène carries subtle meanings in a film, guiding the audience’s emotional response at specific moments. This includes the setting and props, costumes, hair and makeup, facial expressions and body language, use of color and lighting, as well as how characters and objects are positioned within the frame.

SHOT SIZE

1. Extreme Wide Shot: Shows a vast area, often used at the beginning of a scene to show the setting or environment. Emphasizes scale, distance, or isolation; characters are often very small or not visible at all.

2. Wide Shot: Shows the entire subject (usually a person) from head to toe. Gives context to the character’s surroundings while still keeping the character visible.

3. Medium Shot: Frames the subject from about the waist up. Balances focus between the subject and some of the background; commonly used in dialogue scenes.

4. Medium Close Up: Frames the subject from about the chest or shoulders up. Focuses more on the character’s facial expressions while still showing some body language.

5. Close Up: Focuses tightly on a subject’s face or a specific object.Highlights emotions, thoughts, or details; draws the viewer’s attention closely.

6. Extreme Close Up: Shows an extreme detail, like an eye, a drop of sweat, or the ticking of a clock. Creates intensity or suspense; used for emotional impact or dramatic emphasis.

PREVIS & POSTVIS

Previsualization is the process of visualizing complex scenes ahead of filming. It helps directors and cinematographers plan camera angles and shot compositions in advance. Postvisualization, or postvis, takes place during postproduction, allowing rough versions of scenes to be reviewed without the cost or time needed to finalize visual effects.