Storyboard

Based on my shot list, Lauren constructed a storyboard, so all members of the crew had a visual idea of what was going to be filmed. I combined the storyboard and the shot list by adding the shot descriptions below the illustrations. 

Production document-Shot list

Shot list

Production document- Location recce

Location Recce

FILMING

Filming from Sabrina Sakhai

Including sound

"Show, don't tell" 

In discussion with Peter North, we were advised to include sound in our piece, besides the music. Our group finally decided to book out sound equipment for the filming days to record diegetic sounds such as the toast popping up, butter spreading and the kettle boiling. These sounds will be incorporated within the soundtrack. 

However, we were opposed to adding any dialogue or voice-over, and instead wanted to really focus on the actor's performance, whereby their facial expressions and gestures will hopefully communicate a message to the audience. The lack of dialogue within our film also enhances its dream like quality as the young boy is Michael's memory of himself as a child. 

Editing the shot list- making adjustments 2

When reviewing the shot list, I found there to be a few low angle shots from the boys perspective looking up to older Michael.  However, I felt that it wouldn't make as much sense as the young boy is just a memory of Michael, therefore we had to include more shots from Michael’s perspective looking at his younger self and remove those of the boy’s perspective.

Example scene- Michael opens the door and finds the young boy in the morning

Original plan: Michael would open the door and see the young boy and there would be reverse shots from over the shoulder between the two characters, reflecting each of their perspectives, much like a typical dialogue sequence.

New plan:  There would be a single long take of an over the shoulder shot from Michael’s shoulder, when he opens the door and sees the young boy, reflective of only his perspective. I realised this would give a distinct style as the audience are naturally expecting there to be a reverse shot from the boys perspective as is conventional within interaction scenes between people. However, adopting this single perspective look for our film, would make more sense when we reveal that the young boy is simply Michael’s memory. It also helps maintain our focus on Michael’s psychological state and endure on a journey with him. 

Editing the shot list- Making adjustments

After I finished the shot list, I left it to rest for a couple of days and came back to it. Firstly, I noticed that although I incorporated a variety of shot types from extreme close-ups to extreme wide-shots, I didn't really make use of different angles. The shot list contained a series of frontal angles without making use of any interesting side or ¾ angles. From reviewing my previous work, I also identified, my predominant use of frontal angles. 

 After re-watching this music video I created in 2014, I realised that if I had used various different angles particularly during the close-up shots, it would have gave the production a more dynamic feel. 

The lack of variety in angles in my CU shots. 

Therefore, I decided to include ¾ angle shots to the film, particularly to the close-up shots, which would add more depth.