Category: Project 1

This is the first time that I have spent so much time improving the storyboard and previs of a script. I spent too much time on the first act because there was a problem with the connection between the first and second acts. I couldn’t connect the two acts well because the time and space span was huge, and the second act I designed was the protagonist’s inner fantasy, so it was a big problem to convert the current scene into the inner scene. Fortunately, I got the help of my mentor and my friends. After hard work, I did my best to make the connection shots. This set of shots is a set of fast montages that can well show the difference between the two scenes and connect them very well.

Then I accelerated the production process. When I was making the second act at the beginning, I always felt that there was a lack of some emotions in it. As a previs, it was difficult to express emotions only by body language and lens language because there was no soundtrack and stage lighting effects, so I tried to make the lighting into my second act scene and kept it until the end. This is also the first time I tried to add lighting animation to previs.

I am quite satisfied with the whole previs, although there are still many areas that can be polished, but I will put this step aside for modification in my FMP. I will use this storyboard and previs to make my FMP.

After I finished designing the character. I was not satisfied with the shots in the first scene, so I redesigned some of the shots in the first scene. I deleted the scene where the protagonist drinks coffee because I felt that this action was not very suggestive and would weaken the tone and emotion of the whole film. I added a lot of empty shots, which can help me tell the background story of the protagonist, such as her photos and the decorations on her bedside.

I remade some shots based on the new storyboard, which can show the audience the background story of the protagonist. Then I made some modifications to the old shots, such as the last shot, I adjusted the camera angle and recomposed it, so that the audience would not be misunderstood when the raindrops fell.

I started to try to make each shot according to my storyboard. I used the character models provided to complete all the shots in the first act. I saved all the shots separately for later modification.
According to the feedback from my instructor, some shots were inconsistent with the shot scheduling on the storyboard. For example, the second shot was a side-up perspective on the storyboard, but in the actual shot, I made it a top-down perspective. Including the sixth shot, it was also inconsistent with the storyboard, which would lead to misunderstandings among the audience. This is also what I need to change later.

I started designing characters and gave the protagonist her background story to enrich the character setting.

Besides, I started looking for some images on the internet that I could use as a moodboard, because I had seen Tomasz Artur Bolek’s illustrations before, and his illustrations had a dreamcore feel, so I used his illustrations as my moodboard.

Tomasz Artur Bolek is here.

In this part, I continued to improve some of the content of idea3, and I redrew the storyboard of idea3. I continued to improve the whole story, adding some details and shots. The first detail I added was that the protagonist was drinking coffee, which also reminded the audience from the side that the protagonist was working late at night. The unwashed dishes next to him proved that the protagonist’s real life was not satisfactory. The second was that fireworks would start to be set off outside. The protagonist looked up through the window at the fireworks. The camera focused on the window in front of the protagonist, and it was seen that the protagonist looked lost. At this time, raindrops fell on the table. Third, I redrew the whole process of the black shadow appearing, including the image of the black shadow, which was a giant with big eyes, no nose, and mouth. Fourth, I redrew the chase scene and determined the movement and scene arrangement of most shots. Fifth, I made a textual and symbolic description of each shot to determine the scene arrangement.

Story summary: This story tells the story of a sick mother and her child. At the beginning of the story, the sensible child carries her mother’s lunch and walks towards the mother lying on the bed. The mother sits up despite the pain and praises the child. The second shot is the child squatting in a yard, taking care of a dying flower. The child is very sad because the flower can no longer be saved, and her mother quietly watches all this from the window. In the third scene, the child carries her mother’s meal and walks to her mother as usual. The mother whispers to the child that she wants to give her a gift. When the child sees the gift, she is very happy because it is a dying flower, which is now blooming in a pot. In the fourth scene, the child stands in front of a tombstone, which is her mother’s tombstone. The child personally plants the flower on the grass next to the tombstone. The arrangement of the whole story was created when I was in a very low mood. I am not very satisfied with this tragic ending.

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.