STORYBOARD 7

STORYBOARD 5 AND 6

STORYBOARD 3 AND 4

STORYBOARD PAGE 1 AND 2

COSTUME

NEW COSTUME LIST

OLD COSTUME LIST

PROPS

PROPS ARE ESSENTIAL IN GENERATING REALISM, HELPING THE MISE EN SCENE AND MAKING IT MORE BELIEVABLE FOR THE AUDIENCE. SO IT IS NECESSARY TO HAVE A WELL ORGANISED PROPS AND COSTUME LIST AND MAKE SURE WE ARE PREPARED AND HAVE ARRANGED PROPS AND COSTUME BEFORE SHOOTING DAY.

WHO WILL SOURCE EACH PROP-

LAURA-
Wash Bag

BRETT-
Hikers bag

CAST

THE VOYEUR COULD BE ANYONE, AS THEY ARE NEVER REALLY SEEN.WE DECIDED THAT OUR IDEAL CHOICE WOULD BE A LARGE MALE, TO MAKE IT CLEAR TO THE AUDIENCE EMILY’S VICTIMISATION. AS A FELLOW GROUP PRODUCTION WORKER WE DECIDED BRETT WOULD BE AN IDEAL CHOICE AND A PRACTICAL CHOICE.

IT IS NECESSARY FOR PRESENCE TO HAVE A CONVINCING ACTRESS AS THE WHOLE FILM CENTERS AROUND HER AND HER FEAR. OUR ORIGINAL CHOICE FOR ACTRESS, STEPH A FELLOW SCHOOL MEMBER WAS SCREEN TEST AS IT WAS NECESSARY TO MAKE SURE THAT SHE COULD CONVEY THE JOURNEY EMILY GOES THROUGH OR IT WOULD BE NECESSARY TO USE AN EXTERNAL ACTRESSES FOR THE ROLE. AT PRESENT IT IS UNCLEAR, WHERE OUR CASTING CHOICE IS LEADING.

LOCATION

THE LOCATION FOR PRESENCE IS IDEALLY LEITH HILL, SITUATED IN THE SURREY COUNTRYSIDE. PRESENCE IS RATHER SIMPLE LOCATION WISE AS A LANDING, BATHROOM AND BEDROOM ARE ONLY NECESSARY.
THE BATHROOM HAS TO CONSIST OF A TOILET, A SINK WITH A MIRROR ABOVE AND A BATH. THE LOCATION WAS INSPIRED BY A PAST HURTWOODS MEDIA STUDENTS THRILLER “DRIP”.

THE BEDROOM SCENE DOSE NOT NECESSARILYHAVE TO EVEN BE SHOT IN A BEDROOM AS THE ONLY SHOTS IN THAT ROOM WOULD BE OF EMILY ON HER BED AND THE FLOOR NEXT TO HER BED
THE LANDING SHOULD BE LONG GIVING A SENSE OF A JOURNEY.

BELOW IS A DIAGRAM OF OUR FLOOR PLAN AND A PHOTOGRAPH TAKEN FROM OUTSIDE THE LOCATION

NEW SYNOPSIS

MY GROUP CAME ACROSS DIFFICULTIES WHILST TRYING TO DEVELOP REFLECTIONS AND DECIDED TO RETHINK OUR STORYLINE. ALTHOUGH, WE HAVE BROUGHT KEY IDEAS INTO OUR NEW THRILLER FILM FROM OUR PREVIOUS, SUCH AS AN ALTERED MIRROR, AND THE SETTING OF A BATHROOM.THE TITLE OF OUR NEW FILM IS PRESENCE.

EMILY WAKES IN THE MIDDLE OF THE NIGHT WITH AN UNEASY FEELING. FEELING UNCOMFORTABLE AND NERVOUS SHE DECIDES TO GO TO HER BATHROOM TO CALM HERSELF DOWN. WHILST WALKING TO THE BATHROOM SHE FEELS AS IF SHE IS NOT ALONE AND IS BEING WATCHED. EMILY WASHES HER FACE WITH WATER TO LOOSEN UP. THE AUDIENCE THEN DISCOVERS SOMEONE IS LURKING JUST OUTSIDE THE DOOR, WHICH EMILY IS UNAWARE OF. THINGS START TO GET WORSE AS EMILY REALISES THAT THE SINK WHICH WAS FILLED WITH WATER IS NOW FULL OF BLOOD, EVENTS FOLLOW SUCH AS HER ALTERED REFLECTION IN THE MIRROR, THE DOOR SLAMMING, LOCKING AND THE LIGHTS TURNING OF ITS OWN ACCORD. WHEN EMILY STUMBLES TO TURN IT ON SHE WALKS BACK TO THE MIRROR TO SEE A REFLECTION OF THE LARGE BLACK FIGURE BEHIND HER.

THE PROCESS OF STORYBOARDING

A STORY BOARD WORKS AS AN ESSENTIAL ORGANISER TO FILM AND A USEFUL TOOL TO PRE-VISUALISING A SEQUENCE OF FOOTAGE. A STORYBOARD MUST ALWAYS HAVE IMAGES AND DESCRIPTIONS, CONSISTING OF: SHOOT LOCATION, ACTION, MOVEMENT/ SHOT OF CAMERA, SOUND, LIGHTING, EDIT TRANSITION AND LENGTH OF TIME FOR SHOT.

TO START THE PROCESS OF STORYBOARDING WE MADE A LIST OF EACH SHOT AND THE KEY DESCRIPTIONS AS WE KNEW IT WAS LIKELY TO UNDERGO ALTERATIONS. ONCE ALL THE SHOTS WERE CLEAR AND FINALIZED WE TYPED THE DESCRIPTIONS INTO THE STORYBOARD TEMPLATE. WE DID THIS SO THE INSTRUCTIONS WERE AS CLEAR AS POSSIBLE AND EASY TO FOLLOW. WE THEN DREW THE ACCOMPANYING IMAGES OF THE MISE EN SCENE NEXT TO THE DESCRIPTIONS. IT WAS IMPORTANT TO DO THIS IN PENCIL SO THAT NO MISTAKES WERE MADE.

STORYBOARDING IS NOT AN EASY PROCESS AS MY GROUP DISCOVERED. WE FOUND IT HARD TO PLACE EACH SHOT AS WE WANT “REFLECTIONS” TO CONSIST OF SEVERAL MONTAGES. ANOTHER STRUGGLE WAS THE ALLOCATION OF WHO WAS TO DO WHAT PART OF THE STORYBOARD, AS NO ONE IN OUR GROUP IS PARTICULARLY GOOD AT DRAWING, BUT I OFFERED TO TAKE THE JOB ON.