Measurements (Planning)

Hello reader. Welcome to my blog. This post will be about the measurements of the location where we'll be filming, mainly for scene 1.

First,

Why are measurements important?

Although it may seem insignificant, we need measurements for many things. Since we're filming primarily in the school's Media Center, we have limited space. So we need measurements to organize ourselves properly, prepare the mise-en-scène, and arrange the actors and other elements.

Context:

For scene one, we'll be using the back of the Media Center. It's a narrow space. Also, one of the actors we cast (Sebastian) is a very tall boy. We needed to know how tall he would be compared to the bookshelves. Also, for the book—Causal Agent, an important prompt for the plot—I needed to know how big each shelf was so it would fit—and also to have a comparison with the size of the other books.

Taking the measurements: 

 

Our director taking measurements

Takeaway:

Even small logistical details like measurements can influence how a scene is filmed. Knowing the dimensions of the space helped us plan the mise-en-scene more realistically and avoid problems when positioning the actors and props.

Shot part 1 (Implementation)

Hello reader. Welcome to my blog. In this post, I'll be discussing the implementation of the Dutch Angle in our film opening -scene 2-..

Now that we've filmed part of our introduction, I'm going to talk about how we implemented some of the techniques I mentioned in my planning posts. First, the Dutch Angle.

Dutch Angle Implementation:

As I explained before this involves tilting the camera so that the horizon line is diagonal instead of straight. In our film's introduction, we used it at a moment when Maria M. begins to feel frustrated. The tilt isn't extreme, but it's noticeable enough to make the shot appear slightly unstable.

Reflection:

This shot was actually very easy to pull off. The only real challenge was deciding when to use it so it wouldn't look random. I think it was very effective for scene 2 since it focused solely on the character, and that added some variety. Overall, I think it worked well and helped reinforce the thriller's tone.

That's all for now, reader. Thanks for reading this collection of thoughts.

-Dragorita

Making the book for our film (planning)

Hello, reader. Welcome to my blog. In this post, I'll be talking about the process of creating the book. Let's begin.

First,

Why is the book important?

As I mentioned in previous posts, our film opening is a causal agent. In this case, the causal agent is the book. This means that the book is a crucial object for the plot since it has significant implications for the story.

Context:

In class, my team and I were discussing props for the mise-en-scène. I suggested I make the book, since I had the materials at home and already had an idea of ​​how to do it. At first, I thought about making a book from scratch, using a large cardboard box, papier-mâché, glue, and paint. Since the goal was for the book to be unusual, the idea of ​​a large, sturdy book seemed good.

When I got home and started working on it, I realized it would take longer than I thought. I changed my plans and told my team. I decided it was better to make a new cover or cover an existing book.

I used a book I already had at home, covered it, and got to work adding the details.

the covered book

Ideas:

Our director had a clear idea of ​​what the book would be like. The initials of the book's title should form AI, for Artificial Intelligence. This had connotative meanings for the plot. But we didn't want to call the book that, since it was related to art.

We had to choose between two names: Artificial Irridissence and Artificial Ink (my suggestion). In the end, we went with Artificial Ink, which was shorter and easier to spell—by the way, the idea came from the scene in the movie 'Teen Titans: Trouble in Tokyo' where the artist paints figures that come to life with ink.

Color:

The book had to be simple and unusual, so we decided it would be a dark color or black.

Other details:

The book wouldn't have an author, but it would have an illustration on the cover. The illustration would also have connotative meanings.

I had creative freedom for the illustration; these are the meanings:

The image shows a light bulb. The most famous symbol to represent an idea is that of a light bulb, since it was a very ingenious and revolutionary invention. In this case, it's broken, which implies a lack of authenticity. The brain also represents ideas, but more like "fuel." Then there's the bouncing beam of light, like an inverted prism. This represents the illusion of creative ideas that actually bounce off as empty ideas, without substance.

Final results:

cover

Side

Takeaways:

Often, less is more. Especially in our film opening, when you're up against the clock. For example: a shorter title, fewer words, less color, and a simple illustration that tells a story.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Technology Using (Research)

Hello, reader. Welcome to my blog. In this post, I'll be researching the Blackmagic Camera App. I'll be looking into its technical capabilities and planning how to integrate it into my production to achieve a cinematic look. I will also include the other technical cinematographic elements that I will be using. Let's begin.

First,

What is the Blackmagic Camera App?

The Blackmagic Camera App is a professional manual control application that brings the interface and internal processing of high-end digital cinema cameras to a smartphone.

Key Features I'm Researching:

According to the main page of the Blackmagic Camera Website

Manual Control: Full authority over ISO, shutter angle, white balance, and tint.

Monitoring Tools: Professional overlays like focus peaking, zebras, and false color.Why use this app for our production?

Color Grading Flexibility: By shooting in a log profile, we retain more dynamic range.

Consistency: It allows us to lock settings so the auto-exposure doesn't ruin a take.

Cinematic Feel: We can set a specific shutter angle to maintain natural motion blur.

Some of the features Blackmagic offers:

Zoom Control Feature

Auto Exposure Feature

Touch to Focus Feature

ISO

Hardware:

Tripod

Tripod adapter

CD lens 

Light (for the adapter)

Director's cell phone

Diegetic credits (Implementation)

Hello, reader. Welcome to my blog. In this post, I'll be planning the diegetic credits for our opening scene.

First,

What are diegetic credits?

Diegetic credits in films are credits that physically appear within the film's world, as if the characters could see them. Credits commonly appear as text on the screen, which is why diegetic credits are so creative.

Where did this idea come from?

My team and I discussed ways to make our opening film more creative in class. For example, small details that look well thought out. With diegetic credits, we save time that can be better used in post-production.

Our idea:

Opening sequence of our film opening.

Image of the script

One of the scenes specifically shows the bookshelves and some books. We want to include the credits on the spines of some of the books. So I started by making a simple design in Canva.

  

Example of credits

But then I realized I didn't remember ever seeing "cinematograph" in movie credits. So I watched some movie openings and copied the names from the credits to make it look cooler.

Final example of credits:

Then I printed them, cut them out, and taped them to the books at home. I used tape so as not to damage them (we'll do the same with the library books). These are the test credits.

Example of the final result

Example of the final result

Thoughts:

When we start recording, I'll make them more elaborate. For example, I'll follow the themes and colors of the books so it doesn't look forced or rushed. To get the exact color, I can search for the book online and use the color picker tool in IbisPaintX to copy the exact color, or take a photo in good lighting and do the same. I also plan to use double ink so the light reflection isn't visible on the film and different fonts to give it a more stylized look.

Takeaways: 

The small details, especially in the mise-en-scène, are also important since they add to the film's quality.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Shot list part 2 (Planning)

Hello, reader. Welcome to my blog. This is the second post about the process of creating a shot list. Let's begin.

Here is the first draft of the shot list.

Shot List Scene 1

Shot list scene 2

Thoughts:

 These are the first versions of the shot list. I plan to improve them and add more shots to make it smoother and allow the whole team to showcase their skills. I also plan to add alternative shots for some scenes, giving our editor more options and creative space. This way, if some shots aren't quite right, we'll have more to choose from.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Shot List part 1 (planning)

Hello, reader. Welcome to my blog. This post is about the process of creating a shot list. Let's begin.

First,

What is a shot list?

A shot list is a comprehensive, pre-production document detailing every camera shot needed for a film, video, or photo shoot.

Basically, it's like a checklist that organizes all the cinematic elements needed for each shot.

Why is it important?

With a shot list, my job as a cinematographer is easier for many reasons. But especially because it gives me a structure for what I'm going to do. And with a structure, we save time. Time is very valuable because editing takes a lot of time, and this makes things easier for the editor.

Since some time has passed since my first production, I refreshed my memory with this video (which I had already seen before) to have a clear guide of what to do.

                                                           How to Make a SHOT LIST

Takeaways:

In previous posts (Cinematography in Thrillers Part 1 and 2), I analyzed which cinematic elements to use. For the shot list, I plan to implement tracking shots, Dutch angles, and close-ups. I'm 99% sure I'll use them since, according to my research, they're very effective for thrillers. I also want to add that I'll be using a considerable number of close-ups in the second scene because the video I watched (How to Make a Shot List) mentioned that they elevate the cinematic quality of films.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Cinematography in thrillers part 2 (Planning)

Hello, reader. Welcome to my blog. In this post, I’ll continue researching shot types, angles, and camera movement commonly used in thriller films. As I mentioned before, this post also contributes to planning the shot list for our film opening.  

Close-up:

A shot that tightly frames a person or object, showing detail and minimizing background.

Close-ups are powerful in thrillers because they capture subtle emotions and reactions. In our film opening, this would be especially effective when showing the second character’s shocked reaction when opening the book. 

Ranking: ⭐⭐⭐

Effective for tension. Not too complicated technically, but it requires good framing. But since we're not going to show the first character's face, it won't be as effective for the first scene.

Example of close up:

Static wide shot:

A still shot showing the full environment.

This could be used after the time jump to reintroduce the library in a calm, neutral way (equilibrium). We can also create juxtaposition because the stillness would contrast with the instability in the first scene (dramatic irony)

Ranking: ⭐⭐

It's not that complicated to do. If we do it well we can use it to create contrast. We can also apply deep focus.

Example of Static wide shot

Takeaways:

Thrillers are defined by their use of intentional rather than visually appealing techniques. What matters most is how each shot contributes to the tension, perspective, and tone and mood. By carefully categorizing these techniques, I ensure that every cinematic decision in the opening of my film has a purpose, rather than being there for the sake of it or simply for aesthetic appeal.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Cinematography in thrillers part 1 (Planning)

Hello, reader. Welcome to my blog. In this post, I'll be researching the different types of shots, angles and camera movement that characterize thriller films. I'll also be selecting the ones I'll be using in our film opening. This post (along with its second part) serves as a plan for creating the shot list. 

First,

I want to try a different approach. I'm going to give a description of how each shot type, angle and camera movement works. Then I'll explain its purpose in short sentences. Finally, I'll rank each one, taking into account its difficulty (technique), how effective it would be for our film (purpose), and lastly, how much I want to do it.

How does this ranking work?

1-2 stars: bad ⭐

3 stars: average ⭐⭐⭐

4-5 stars: good ⭐⭐⭐⭐⭐

🌟: Galactically stratospheric good

Let's begin,

Frame within a frame: This is a technique that involves using elements to create a second frame within the screen frame. Examples: doors, windows, photographs or paintings, people, or objects. It's virtually limitless.

I think it would be effective for our film because, as I said before, it's a thriller, and this technique works to isolate characters or draw attention to a specific object.

Ranking: ⭐⭐⭐ Because it's part of cinematography and set design, the only problem I see is that I think it would be complicated to execute and instruct the actors (and not that I'm particularly excited about doing it).

Frame within a frame example: Punch Drunk Love

Dutch angle: where the camera is deliberately tilted to one side, making the horizon line oblique or slanted.

I think it would be useful for creating anxiety and tension. Also, if used well, it can create suspense.

Ranking: 🌟 It looks cool, easy, and quick to do. It's not a very advanced technique; I just need to analyze where I'm going to use it and for what purpose.

(Honorable mention: In The Dark Knight, they used it a lot and it looked fantastic.)

Dutch angle example: The Dark Knight

Tracking shot: where the camera physically moves alongside, behind, or ahead of a subject.

Used to create immersion, follow action, or reveal information. Our film's opening will include a tracking shot.

Ranking: ⭐⭐⭐⭐⭐ I know I'm going to have to use it a lot, so I'd better get used to it. It's also key for creating suspense, and since I plan to use some long takes, it will make the job easier.

Example of a tracking shot:

Takeaway: It doesn't matter if a genre is characterized by specific types of cinematic elements; each film and cinematographer is unique and doesn't necessarily have to follow those rules. External factors such as difficulty, time, and budget must be taken into account.

*There's a part two, go check it out*

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Lighting 'chiaroscuro' (Research)

Hello, reader. Welcome to my blog. In this post, we'll explore the secrets of light in cinematography, specifically chiaroscuro. Let's begin.

First,

What is chiaroscuro?

Simply put, chiaroscuro is the juxtaposition of light and darkness.

Examples of chiaroscuro:

Gerrit Dou

Christ before the High Priest, by Gerrit van Honthorst

(It doesn't necessarily have to be a lit candle in a dark room)

The Holy Family by Rafael

What is chiaroscuro in cinematography?

In cinematography, it's low- and high-contrast lighting that creates areas of light and dark in films. But what makes it special? I believe that because the contrast is so dramatic, it has a stronger visual impact on the viewer. Perhaps if you're from the Renaissance era, it will impress you more -I don't blame you. I also noticed that it can be used to draw the eye to specific areas, similar to the rule of three. 

Why do we want it in our film?

Because this type of lighting is often used to create suspense (and our film's opening is a mystery thriller). In our film opening, chiaroscuro will be used to visually reflect the psychological tension of the scene. Since the story takes place in a library (a space that is normally calm, silent and neutral) I can manipulate lighting to transform it into something unsettling and create suspense. And, when the boy appears, I plan to use strong contrasts between light and shadow. Since we don't want to show his face, I'll reinforce this with shadows and foreshadowing. Although it will be difficult, I think I can manage it.

When the second character appears, the light will become soft and normal (equilibrium). Then, when the second character interacts with the book, I will use chiaroscuro again, which indicates disequilibrium.

Takeaway: 

By using chiaroscuro, I can visually separate safety from danger (equilibrium vs dysequilibrium) without having to use dialogue. This is how we facilitate post-production.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Lighting in films (Research)

Hello, reader. Welcome to my blog. In this post, I'll be investigating lighting in film, specifically three-point lighting. This post will serve as a foundation for my subsequent posts on lighting research. Let's begin.

First,

What is Three-point lighting?

Three-point lighting is a foundational, standard technique in video, film, and photography that uses three distinct light sources Key Light, Fill Light, and Backlight.

What is the purpose of three-point lighting?

Three-point lighting focuses on creating a three-dimensional appearance. This makes the scene look more professional, realistic, and stylized. It also creates depth.

How does it work? 

By placing three light sources at strategic points around the subject, each one illuminates a different dimension of it and creates an image with greater representation of height, width, and depth. This refers to the relationship each light has with the others. The main light should be twice as bright as the fill light. In other words, by having the light come from three different points, a more stylized appearance is created.

Film lighting relies on the intensity and angles of the light source:

Light source: refers to the physical origin
Angle of light: refers to the path of approach
Light intensity: refers to the amount/brightness

Adjusting the intensity:

Diffusing the light will decrease the intensity.
Dimming the light will decrease the intensity.
Moving a light further away will decrease the intensity.

Examples:

How it works:

How to apply it:

Takeaway:

Three-point lighting allows me to control depth and focus at the beginning of my film. It will be particularly useful in the second scene to create a calm atmosphere (equilibrium) that contrasts with the disequilibrium of the first scene. By adjusting the intensity and angles of the light, I can direct attention to the character's reaction, which simultaneously creates a sense of tension in the audience.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Visual Foreshadowing (Research)

Hello, reader. Welcome to my blog. In this post, I'll be researching foreshadowing, specifically in cinematography. I'll also start planning how to use it in my film opening. Let's begin.

First,

What is Foreshadowing?

Foreshadowing is a technique in which a storyteller gestures to events that will happen later in a narrative.

Different forms of Foreshadowing:

Direct: explicitly describes future events.

Indirect: more subtle, indicates what will happen.

What is foreshadowing used for in storytelling?

Creating suspense

Dramatic build up

Developing anticipation

*We are using indirect foreshadowing. It basically prepares the audience for what's coming without telling them directly. Our goal is to create suspense, and to do that, we need to hook the audience. The audience's attention can be captured by keeping them in a state of anticipation. This tool can be used to create anticipation in a subtle way.

Example of foreshadowing:

Coraline (2009)

How can we use it in our opening? 

I think the best technique for our opening is indirect foreshadowing. In our opening, we already have symbolism. For example, the boy's erratic breathing (recorded handheld) and the shallow focus (we also won't show his face) suggest that something is wrong before we even see the book or show what it represents. This in itself creates anticipation. The audience understands that the object he's holding is important (even if they don't yet know why). I think we can apply foreshadowing with framing and lighting (cinematography foreshadowing).

Then, when the second character enters the bookstore (equilibrium) and subsequently picks up the book, before the revelation, the audience already associates the book with danger/mystery. The tension is created on its own, and the character's reaction would already create foreshadowing.

Takeaway: Indirect foreshadowing in my film's opening works because our goal is to create tension and suspense. And through the visual clues (the boy and the book) –mystery– the audience already senses that something is wrong. By withholding important information, we create anticipation, and this is reinforced by the second scene.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Pre-production: color (planning)

Hello, reader. Welcome to my blog. In the previous blog post, I researched how color psychology works in films and the meaning of each color. In this post, I will be applying what I learned about color psychology to our film opening.

Applying color to my film opening:

Color in shots is not something that should be added in post-production. Since I plan to use it in the mise-en-scène, it has to be planned from the beginning of pre-production. This is especially important in our case, as we are creating a film opening.  That is, we have to connect with the audience from the very first moment, using colors that appeal to the emotions we want to convey. Openings are the first emotional connection formed with the audience.

Color as emotional shifts:

As I mentioned before, our opening is going to be like a roller coaster of emotions that ends the ride when the audience is at the highest point of the roller coaster, about to descend. For this, I plan for the two scenes to be distinct, each having a dominant color to represent the change in emotion and time.

I will use cool colors (and purple to represent mystery) in the first scene, and in the second, I will focus on red to represent danger.

Why is this important?

When we plan color choices from the beginning, color becomes a storytelling tool and not just decoration. Objects, spaces, and characters gain meaning through their color, guiding the audience’s emotional response without the need for dialogue. This also creates a brand, a visual identity for our film.

Final thoughts:

Color psychology works on a subconscious level, which means the audience may not consciously notice every color choice, but they will feel its effects (subconsciously). By using color intentionally in my film opening, I aim to build tension and guide emotion.

That's all for now, reader. Thank you for reading this archive of thoughts.

-Dragorite

Pre-production: color (Research)

Hello, reader. Welcome to my blog. In this post, I'll be exploring the psychology of color and its use in films.

Idea

I was researching ways to make a film unique. When we talk about color in films, we almost always think about the color of the atmosphere or color grading. But what happens when you use a specific color for specific elements? In the mise-en-scène, for example, or in the characters themselves.

Color psychology: is the strategic use of colors to evoke specific emotional and psychological responses from the audience.

How can it be used?

Color psychology has diverse uses. As the name suggests, it is highly related to psychology and how the human brain reacts to each color. It's surprising how a single color carries so much meaning and can add details to the plot.

Color choices enhance storytelling, develop characters, and create immersive atmospheres. Each color carries its own associations and connotations, influencing the viewer's perception and feelings. By applying color psychology, filmmakers tap into the viewers' subconscious reactions, intensifying the impact of scenes and narratives.

Common meanings of each color:

According to editor Lilly Mtz-Seara, these emotions and adjectives are attributed to each of these colors. Of course, they can also vary and are not a rigid mold or a rule. 

RED – anger, passion, rage, desire, excitement, energy, speed, strength, power, heat, love, aggression, danger, fire, blood, war, violence

PINK – love, innocence, healthy, happy, content, romantic, charming, playfulness, soft, delicate, feminine

YELLOW – wisdom, knowledge, relaxation, joy, happiness, optimism, idealism, imagination, hope, sunshine, summer, dishonesty, cowardice, betrayal, jealousy, covetousness, deceit, illness, hazard

ORANGE – humor, energy, balance, warmth, enthusiasm, vibrant, expansive, flamboyant

GREEN – healing, soothing, perseverance, tenacity, self-awareness, pride, unchanging nature, environment, healthy, good luck, renewal, youth, vigor, spring, generosity, fertility, jealousy, inexperience, envy

BLUE – faith, spirituality, contentment, loyalty, fulfillment peace, tranquility, calm, stability, harmony, unity, trust, truth, confidence, conservatism, security, cleanliness, order, sky, water, cold, technology, depression

PURPLE/VIOLET – erotic, royalty, nobility, spirituality, ceremony, mysterious, transformation, wisdom, enlightenment, cruelty, arrogance, mourning, power, sensitive, intimacy

BROWN– materialistic, sensation, earth, home, outdoors, reliability, comfort, endurance, stability, simplicity

BLACK – No, power, sexuality, sophistication, formality, elegance, wealth, mystery, fear, anonymity, unhappiness, depth, style, evil, sadness, remorse, anger

WHITE – Yes, protection, love, reverence, purity, simplicity, cleanliness, peace, humility, precision, innocence, youth, birth, winter, snow, good, sterility, marriage (Western cultures), death (Eastern cultures), cold, clinical, sterile

SILVER – riches, glamorous, distinguished, earthy, natural, sleek, elegant, high-tech

GOLD – precious, riches, extravagance. warm, wealth, prosperity, grandeur

Examples:

The use of color in films

Takeaways:

Color is a narrative tool that is developed from pre-production, it not only provides meaning but also a unique design and a unique brand for films (if the audience can recognize the film only by color it means that its use was a success)

Using specific colors on elements like objects, settings, and characters gives them meaning. It occurs to me that in Inside Out, the emotions had specific colors that represented them, like disgust and green, sadness and blue (these are colors universally associated with those emotions).

Color psychology appeals to our subconscious, activating emotional responses.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

How will we use suspense in our film? (Planning)

Hello, reader. Welcome to my blog. In this post, I'm planning how we're going to use suspense in our film opening. This is a continuation of the research on how to create suspense.

Recap:

The genres of our film opening are Thriller and Mystery. One of the main elements these genres share is "suspense." As I discussed before, suspense engages the audience.

What suspense technique will we be using?

Hiding information. I think this technique is the easiest to recreate and also the most effective. Since our opening is only two minutes long, our goal is to do everything possible to grab the viewer's attention. That's why we chose Thriller, Mystery (genres) and Causal Agent (opening type) for our project. They are perfect for keeping the viewer attentive and making them want to see the full film. We also plan to end the opening at the highest point of tension. Like a roller coaster at its highest peak, we will stop the experience before the big drop. We plan to play with the audience's expectations.

How does it apply to our project?

Thrillers: feeling of suspense and worry.

Mystery: suspense, investigation and the resolution of enigmas.

Causal agents: Introduces an event, object, or character that triggers the story.

Hiding information: Withholding information from our audience is also another way to create suspense. Secrets. It works by giving the information to ourselves, not telling the audience the secret.

Hiding information in our film opening

The causal agent of our story is a book. Not where it is located, nor who is holding it. In fact, we have no information about any of the characters, nor is there a connection to the location of the events, because the most important thing is the book and what is not shown.

A boy arrives running to the library. Scared and agitated. The boy's face is not shown. He is holding a book. This book is unusual. It has no title or author. The boy looks for an empty space on a bookshelf and places it there. Time passes. A person arrives looking for something to read. They are drawn to the book. They open it. We see their expression. We do not see the contents of the book at any point. 

This raises questions such as:

What does the book contain? What will happen next? Why is that book important? Why was the boy scared? Why did that person make such an expression?

That's all for now, reader. Thank you for reading this archive of thoughts.

-Dragorite

How to create suspense? (Research)

Hello, reader. Welcome to my blog. In this post, I'm researching and planning how to use suspense for our film's opening. But why is suspense important? Well, suspense plays a very important role in thrillers, but especially in mysteries. And since those are our main genres, it's crucial that we know how to develop suspense effectively.

First things first, 

What is suspense?

According to this super useful video I watched for my research, suspense can be defined as a state or feeling of excited or anxious anticipation about what might (or not) happen. It's the tension of waiting for something that comes from waiting for an outcome. Basically, it's a great tool for creating entertainment. 

                            Alfred Hitchcock On Mastering Cinematic Tension

The elements of suspense

How can we create suspense?

There are many ways to do it, but here are the most common ones.

“In order to get suspense you provide the audience with a certain amount of information, and leave the rest to their own imagination”

-Alfred Hitchcock 

Knowledge and information: those are key elements. We give the audience information, leading them to think that something will (or could…) happen. And if something doesn't happen it doesn't matter, because it is that waiting process that creates tension and races the audience's heart. The work is done by the mind of the viewer.

Promises: We can create suspense by making promises to our audience, things that they know will eventually come to pass. This can be done by waiting until the last minute to finally deliver on that promise. The three D's: delay, deny, deliver. 

Parallel plot lines: We can also create parallel plotlines in our stories, having two or more characters that are connected in some way, heading on a collision course towards one another. We know as an audience by the information given that the characters will intersect with one another at some point, but we don't know when or where.

Hide information: Withholding information from our audience is also another way to create suspense. Secrets can also create tension in the audience. This works by giving the information to ourselves, not telling the audience in the secret. 

Example, we know that the character is searching for a box. We don't know, as an audience, why he is looking for the box. But then, he finds it, and in the moment he opens, we only see his reaction, but we don't get to see what is inside the box.

Takeaway:

Techniques for creating suspense don't have to belong solely to technical elements; suspense can also be created with narrative elements and applies to every member of the team.

There's a second blog post that's the second part of this topic, go check it out!

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Creating a Storyboard (planning)

Hello, reader. Welcome to my blog. In this post, we will analyze the storyboard I created for our film. Let's unravel this together.

What is a storyboard?

According to Animum 3D, a storyboard is “a set of illustrations, sketches, or images organized in sequence, designed to preview a film, advertisement, animation, or story”. 

In other words, it's a visual guide that will be very helpful to my team and me. Especially for me, because I need it to plan camera angles, shot sizes, and movements before production.

Events:

After our research and discussing our ideas as a team, our director created the script for our film's opening. We used our editor's idea, and the director refined it to create the final script.

After analyzing the script, I started working on it right away so that our team would have a visual guide. Obviously, our opening doesn't have to be exactly the same; the storyboard is just a starting point that can be edited and changed at any time. 

The process:

As I mentioned before, the first thing I did was analyze the script. Then, I divided the two scenes into seven main shots. But how do I know these are the main shots? It's simple, because they can tell the story on their own, without needing any extra details.

Then I got to work, created some basic sketches, and then refined them to make them look more detailed. The goal was to bring it into existence and then make it look good.

Final Result:

The storyboard as a digital comic:

Since I haven't created the shot list yet—which will be available in future blog posts, by the way—I didn't specify the shot numbers.

Key takeaways:

Storyboards are important because they are like the foundation of a filmmaker's pre-production. They provide structure and a strong base.

They are also a good basis for casting actors and creating the shot list.

That's all for now, reader. Thank you for reading this collection of thoughts. 

 

-Dragorite