StoryBoarding- Learning Aim B

Jack Willoughby

Storyboarding Planning and Development

The following piece of work is an analysis of different formats of storyboarding for a range of different media outlets; film, music video and video game. Each method of storyboarding is subjective to the overall media product so by designing each board to be successfully effective in achieving different camera angles, exposure, and focus consolidates and secures this outcome.  Primarily, I first drew up drafts to analyse the purpose of visualisation and consolidation of ideas to crew members, as well as the effectiveness of these features in each media format. Therefore, I chose which format would utilise and enhance these skills the most effective according to my cinematic ideals.
The sole purpose of these following storyboards is for experimentation with subjective cinematic ideals of which an individual envisions, and this skill has solidified the format I will use for my upcoming short film. This application of understanding of the unit has aided me in having a wider knowledge of the critical analysis of different types of storyboarding, the affordances/limitations of each type, and the effective and appropriate time to utilise these different methods.

Gaming storyboards

The video game I storyboarded was an adaptation of my short film ‘Affiliation’, and for constancy, I used the same characters which allowed the purpose of visualisation and expression to effectively contribute to the final product. Designing different levels, icons to use in the game e.g. power-up features, etc were based on drawings that had been originally intended for my short film. But, by effectively applying a continuous long-shot to an arcade-like video game, the perspective shift transfers from a narration of the cinematic plot to a centralised tracking of the avatar in a game mode.  This aides the player in understanding their correspondence to their avatar and is consubstantial to their gaming skills reflected in the success or failure of their avatar.

The first Storyboard format I used was this one (displayed to the left)
The envision of the classic 80’s arcade game with the long-shot feature and monotone/ unlayered exposure of the image meant the shot would remain consist8ant in each cell but the explanation of the transitioning nature of the shot, I found restricting. The spatial awareness and line structure below each cell hindered me on ultimately fulfilling the purpose of visualisation because of the significantly small space for explanation. A purpose of a storyboard is to have flexible experimentation but the use of literacy to explore and convey ideas to crew members enhances the visualisation of the image and decreases the idea’s effectiveness when been manufactured in practical production. However, the number of cells in a singular page was an affordance to this format. Although, each cell did not leave room for literacy development of the image-based ideal, the spatial room for which I had to illustrate my cinematic vision aided me in centralising and tracking the avatar for player purpose. However, although the number of cells was somewhat great for pre-production the actual size of the individual ultimately compressed my illustration and therefore hindering the purpose of visualization and the long-shot camera focus I was trying to achieve.

The second format I experimented with, I found sufficiently more effective for purpose and camera

techniques however, it conveyed some similar limitations as the first format. The limitation of spatial awareness for literary description was prominent in this format, and again it ultimately hinders the purpose of visualisation because of the lack of explanation of camera transitions and audience perspective shifts. But the significant comparison was the amount of space I had to illustrate my cinematic ideal. The first was rather restricting for expression of the long shot and monotone light exposure into the shot to maintain the time-period element, but the second allowed for much more fluency between each shot to try and convey the transition. This is because the second format, although it had the same 6 cell per page layout, had more space in each individual cell to illustrate each shot and use arrows to show the directionality of the avatar as the camera arrows are not needed as it is a constant long-shot. This improves visualisation and makes the ideal easier to understand from crew members, therefore, making it more effective in future for practical production as pre-production vivid imagery. Also, the organisational structure was expressed clearer and defined because of the bigger spatial awareness in each cell which impacted on my time-management in the pre-productive stage.
Ultimately, the second format was the most effective in utilising and applying the skills needed for a storyboard to be successful, therefore, I chose this for my final format for my video game. Overall, after personally experiencing the pre-production of producing a successful video game, it is clear that literacy space underneath each cell is less important than the space for illustration because the final product is produced as a master shot which evidently implies the need for the constancy in illustration for visual and experimentative purposes.

Music Video storyboard 

The music video storyboard was the most conflicting to configure and consolidate to try to include all of the purpose features needed for a storyboard to be effective and successful. This is due to the progressive ability to capture visual imagery for the obvious purpose of visualisation and portrayal to crew members to aid them in practical production. Also, the literary information needed to be detailed when explaining cinematic differences and transitions between fast-paced shots and rapid lighting cues and angle changes to reflect the lyrical and beat changes in the video.  The directionality of camera angles and lighting to create vivid imagery was essential to making the music video effective in practical production, so the cells and their limited space would be the most significant challenges for  me and my crew members, as when represented in the storyboard the accuracy needed to be at the highest standard and of the most applicable nature for future reference

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Originally, the illustrations for the first template were not sized at 16:9 aspect ratio for the visualisation of the music video, containing context and directionally which each crew member could utilise in production. Upon the realisation that these cells were not in fact in this identifiable aspect ratio, this drawback hindered the style for my cinematic ideal. The option of illustrating black bars within each cell was still predominant, but after careful consideration and analysis, this option would drastically decrease the spatial awareness for illustration and hinder the purpose of visualisation and the process of flexible experimentation. Therefore, having an overall impact on the effectiveness of portrayal as a product as well as in the practical production process. Ultimately, I needed to find a template that was effective in allowing me to achieve a successful style which would enhance interactivity with the audience and directionality of camera fixtures such as differing camera angles and light exposure to the crew members.

The second template was significantly contrasting, and resultingly had a more sophisticated level of organisation according to structure and effectively helped me convey my cinematic ideals. This can be seen in the use of shot and scene numbers which aids fluency of the narrative and the planning of shooting, organising equipment in the pre-productive stage, all purposefully used toward creating an effective and successful shooting day. The size of each individual cell was impeccably suitable for the original 16:9 aspect ratio, so the spatial awareness substantially increased allowing for full analytic content of cinematography. Therefore, aiding crew members in practical production and overall broadening the range of camera angles used such as close-ups and extreme close-ups. This makes for more interactivity with the audience as they are positioned in a way which reflects the lyrical and beat changes, feeling inclusive. The overall impact of effectiveness is enhanced by this broadening use of camera angles, which I reiterate, this format provides. The incredible line structure for literary development was considered as a catalyst for efficiency in this format. This is because I believe it is necessary to articulate camera directionality and information about diegetic /non-diegetic sounds as the forefront sounds produced would, in fact, be the song itself. Therefore, the spatial awareness was superseded to be concerned with the development of different shots e.g. extreme close-ups to aid crew members visuality. 

Therefore, the second format, overall, was the most effective in fulfilling the purpose of a storyboarding for me, regarding the media outlet of a music video production. The proportionally of the cell structure impacted the organisation and the overall effectiveness of the format in portrayal to crew members, and audience positioning. So, I utilised this storyboard in the pre-production stage of the music video.

Film Storyboard

Development

For the atheistic nature and visualisation of each individual character, the illustrations were

significantly easy to consolidate as I already had the cinematic ideals assigned to each character, played by each cast member. This enabled for each illustration to enhance and develop costume and prop focus which aided in the organisation of wardrobe and art design; to see what necessity was and what looked the most visually effective.  Wardrobe and cinematic art design would enable me to analyse which camera shots would be the most effective when

introducing each character. For example, a dark costume would reflect the ambience and persona of the character therefore, the lighting had to match according. This increases the purpose of visualisation and flexibility of experimentation because it allows for the formation of vivid imagery to allow for success in the practical production stage.

My enthusiasm for film studies and knowledge of cinematography have aided me in choosing the storyboard template that would be the most effective to product my cinematic vision. This retained knowledge could be considered a limitation when in the pre-productive stages of other media outlets such as music videos, or video games because I couldn’t utilise knowledge in planning and have confidence in the visual outcomes. However, this task enabled me to broaden my knowledge of these

media productions and critically analyse and make comparisons between the preparatory stages of each, therefore, for future reference, the skills would be applicable to me.

The first storyboard template in consideration for my final film production was suitable to the formalities of my cinematic ideals, but to some extent did not suit the illustrative purposes and functions a storyboard should enhance the purpose of visualisation. Although the organisational

aspect of displaying valuable credits at the top of the page would aid in scheduling and efficiency of timekeeping, the use of arrows to show directionality of camera angles, I found somewhat restricting. This is because the transitioning nature from close-up to long shot etc, with different focus points, was limiting the number of cells per page which impacts on the visuality and disrupted my cinematic vision. However, the cells were already in the correct ratio format, which was originally desired, so the purpose of visualisation could have been more effective if I personally consolidated and adapted my ideas to achieve suitability.

The second template I found was outstanding for compatibility of formalities and the expressive purpose of illustration for me to create a successful short film. Regarding the sustainability of visual elements as a vital aspect of the pre-production process, the cell spatial awareness allowed for the fluency of transitioning shots and angles which contribute to the success of visualisation and experimentation of flashbacks.  Although the number of cells is decreased in comparison to other templates, the spatial awareness for illustration and literary development was exceedingly high. This ensures the understanding and development of timings of manipulation of camera angles and shots to achieve fluency and continuity in the practical film making the process. Also, this allows for the purpose of communication to other crew members which is a massive affordance when examining and effectively producing the complexities found in a storyboard format. The organisational structure of this template is another significant affordance to aid the effectiveness of conveying visualisation. It separates the vital information into cuts, action, picture, dialogue, and time which aided me in the display of intricacy of details without compression of illustration and limitations. Therefore, it drastically improved my presentation and the effectiveness of the storyboard.

Therefore, the second template would consolidate my cinematic understand and allow for the projection and application of my cinematographic skills when in the practical production stage. Overall, the effectiveness of the pre-productive stage is significant by using this template regarding organisational structure, the purpose of communication and visualisation, and the flexibility of experimentation of different camera angles and shots.

Feedback 

Game Storyboard
I presented each storyboard to a group of 12 people, who were either involved in film and media or well educated on the study, as I wanted the work to be properly assessed by individuals who knew what to evaluate storyboards on, so I would conclude this learning aim with knowledgeable peer assessments which can help me adapt my ideas to make a more professional and effective storyboard for my final products.

Video Game 
Many of my peers which assessed my storyboards put forward that in order to improve the visualisation video game I need to help include annotations or descriptions next to characters or objects, even adding in more arrows to represent the movement of items that will appear in the game.
Also, someone did point out that even in arcade games the shot does not particularly stay the same throughout the whole game and that I need to include more information about the camera movement in order to help the production of the game.

Music Video 
The Music video had a few complaints and which were that even though there will not be any diegetic sound I still need to add information in the caption boxes to help give an understanding of when that shot will take place. Also, my peers understood that I wanted the video to be extremely stylised and have a cinematic hint to it, and they responded with that I did not include any notions of camera movements that would help in producing the music video. As there need to be cues for the cast and crew to get an understanding of to help capture that stylistic choice that i wanted my music video to hold.

Film Storyboards 
In the storyboard, all of the peers agreed that the second format was the best for capturing the cinematic look and exploring the usage of storyboards professional but there were a few components that either needed enhancing or adding to the storyboard. First, one being that we needed to include cuts, this not only helps improve the professionalism of the storyboard but also helps on set and in editing, so cuts needed to be added in order to improve the effectiveness of the storyboard. The other concern that was brought up with that I needed to include more description of movement on the storyboard and not just in the form of drawings, there needed to be written descriptions alongside the cells to help improve the understanding of what each shot needs to present and most importantly how to do it.

All of this feedback will be used to produce my final storyboards and to maximise the effectiveness of them, which will help improve productivity, save time and contribute massively towards the remainder of the production.

UNIT 20- Single Camera Techniques

UNIT 20- Understanding Single-Camera Productions
Jack Willoughby

Introduction
What are single camera productions?

Single-camera productions is a production in media that only employs one camera on set and each shot to make up a scene is taken individually. Each of the various shots and camera angles is taken using the same camera, which is moved and rearranged to get each shot or a new angle. The lighting setup is typically reconfigured for each camera setup. A single camera production gives the director and crew more control over each individual but is more time consuming than multi-camera productions.
But the majority of the time film producers make the decision of using single camera productions because of the creative influence it can have on the production and many television productions for prime time dramas, music videos and commercials often use single camera production techniques.

Formats

SERIES-A series is a television production which has a set number of episodes and is only aired at certain times of the year, typically once a month is the average frequency of new episodes. The story may have an end to it at the last episode of the season but they normally continue to a second season where the story is continued. A few examples of a series dramas:

• Skins
• Desperate Housewives
• Waterloo Road

SERIAL- A serial is more like a soap where the stories are continuous and it doesn't run for a specific amount of episodes and is normally aired all year round.
Examples of Serial shows:

• Doctors
• Coronation Street 
• Eastenders 

There are many advantages to single camera production, one being it means the crew can manage the set up between every shot with more detail as there is only one camera to worry about. In the start many low budget films would use single camera production as it would be cheaper than having multiple cameras, also with every camera, you would have to buy lighting and sound equipment to work with that camera so only using one means you don't have to spend money on other things too. Also in single camera productions, not as much crew will be needed on set as they are only one camera to maintain, this helps with budgeting as you will have a smaller crew. Then there's the issue of seeing another camera, we see it all the times in films where normally a 'shot-reverse shot' or a chase scene and we can see a secondary camera but with single camera productions you don't have to worry about that, unless it's being reflected on  a surface and the camera could see itself. But then if there is only one camera the crew has to work around then it will be easier to rearrange the shot or the set. Also as said in the introduction, the director has a lot more aesthetic control over each shot.

However, There a disadvantages to single camera productions and the first one that anyone will tell you is that it will be more time consuming as between each shot everything on set has to be moved and reconfigured. Less realistic reactions, when filing two characters in conversation you cant get a natural reaction between the two characters as it would've been shot more than once. Editing time is a major concern when it comes to single camera productions because it means they will be a lot of time spent editing because of all the different types of shots that would have been taken. with multiple cameras, you could shoot different angles and have them taken at the same time, using different people for the cameras.

Analysis of single camera productions

FILM

The Shining (1980) will be my first production I will look at and I will be looking at the shot of Danny Torrence (Danny Lloyd) riding his tricycle through the halls of the hotel.
The Shining Tricycle Scene
 Firstly I am going to analyse the type of shot which is used, the shot is a tracking shot which was filmed on a Steadicam, which is a piece of camera equipment where the camera is mounted to a rig that is carried by an operator. It is normally fitted with a weight at the bottom of the rig to keep the camera more level through the moving shot and looks like a very 'steady' handheld shot. Many other productions would use a dolly, which also can give a smooth tracking shot but a dolly has to run along a track and in this particular shot it would have been impossible to have a track running throughout the whole hotel for a dolly because 'Danny' wouldn't have been able to ride the tricycle and most importantly the track would've have been seen in the shots. The framing of the shot is one of my favourite things about this scene we as an audience are put to the level of the character with a medium close up from the back of Danny which conveys a sense of connection between the character and the viewer, making it easier to empathise with him and feel his fear. We also know exactly what the main focus is in these shots which is Danny, and we know this from narrative information and also the way the character is framed throughout this whole shot, he is constantly framed in the centre of the screen so we as an audience know he is the focal point of the scene, this furthermore drives the relationship between him and the viewer which is creating a more tense and fearful experience for both Danny and the audience. The camera is placed at low angle and as we are seeing this shot from a 'child's' point of view we feel this sense of vulnerability isolation for the child, as he rides around the hotel every wall, carpet and hall looks exactly the same which always reminds me of a maze and i always got this sense that this hotel was on and the feeling of being alone in an environment like that always scared me also we see nothing else but Danny and the hotel in these shots so this would also give the idea that he is completely alone, so maybe no one is there to cause him harm but most of us jump to thought that there is really no one to help him at all from the terrors that this hotel brings.