CA2012 S TORYTELLING FOR C OMMUNICATION V ISUAL S TORYTELLING

1. CA2012STORYTELLINGFOR COMMUNICATIONVISUAL STORYTELLING

2. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING One Cut One Place One Situation Shot Scene Sequence

3. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Story Sequence1 Sequence2 Sequence3 Scene1 Scene2 Scene3 Scene4 Scene5 Scene6 Shot1 Shot2 Shot3 Shot4 Shot5 Shot6 Shot7 Shot8 Shot9 Shot10

4. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Radio commercial script AGENCY: Jefferson Advertising, Inc. CLIENT: Mertel’s Coffee Mills LENGTH: 60 seconds ANNCR: Are you a coffee lover? Most Americans are. Would you like to enter the world of gourmet coffees? Mertel’s can help. SFX: SOUND OF COFFE BEING POURED INTO CUP ANNCR: Gourmet coffee begins with whole beans, carefully selected, freshly roasted. SFX: SOUND OF COFFEE BEANS BEING GROUND ANNCR: Gourmet coffee is ground at home, just before brewing. Choose your coffee according to your taste and the time of day. Rich but mild Mocha Java for breakfast. Hearty French Roast for that midday pickup. Nutty Arabian with dinner. And Colombian decaf before bed. Sound inviting? You bet. Sound expensive? Not so.

5. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING TV commercial “two-column” script CLIENT: The San Francisco Zoo AUTHOR: Samantha Wiedmann* “Parents and Kids” : 30 TV Spot VIDEO MS OF A MOTHER WITH A BOY, GIRL, AND BABY IN STROLLER CU OF AYE-AYE GRAPHIC: SF ZOO LOGO WITH PHONE NUMBER AUDIO (MUSIC: GENTLE BUT UPBEAT. IN AND UNDER) ANNCR: (VO) Enjoy a special day with your family at the San Francisco Zoo. Check out some of our new exhibits, including the mysterious Aye-Aye ANNCR: Rediscover your world. The San Francisco Zoo. Open daily. (UPBEAT MUSIC TO CLOSE)

6. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Storyboard Storyboards are a series of sketches that are used as a planning tool to visually show how the action of a story unfolds. The closest visual relation to the storyboard is the comic strip minus the dialogue balloons. But whereas comic strips entertain, the storyboard is a tool that facilitates production. The main purpose of the storyboard is to clearly convey the narrative flow of a story by defining the challenges and problems of a project. Storyboards also assist in the timing of a sequence, experimenting with camera angles, movement, and continuity amongst the elements within the frame.

7. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Aspect Ratio

8. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Aspect Ratio Aspect Ratio ≠ Resolution

9. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Aspect Ratio Common Aspect Ratio 1.33: 1 Standard aspect ratio (television, computer screen) – 4 x 3 1.78: 1 Widescreen television, HDTV – 16 x 9 1.85: 1 American ratio. Common aspect ratio for Motion Pictures. 2.35: 1 Panavision, Cinemascope (Blockbuster)

10. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Aspect Ratio 1.33: 1 1.78: 1 1.85: 1 2.35: 1

11. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Shots

12. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Framing How close or far a subject is, from the camera. 01_ Extreme Long Shot (ELS or XLS) 02_ Long Shot (LS) 03_ Medium Shot (MS) 04_ Close-Up Shot (CU) 05_ Extreme Close-Up Shot (ECU or XCU)

13. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Framing 01_ Extreme Long Shot (ELS or XLS) The extreme long shot establishes the context for the shots that follow by setting up the location. Extreme long shots are typically used to depict the vastness of an area, such as a city skyline, a suburban neighborhood, or a farm. It function as establishing shot. We typically see extreme long shots as the opener of a film or scene.

14. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Framing 02_ Long Shot (LS) Also called the wide shot, the long shot shows the location (where are we?), the subject (who is there?), and the action (what is happening?). This is one of the most important shots because it establishes the elements of a scene. The long shot may depict the openness of a soccer field, gymnasium, or ranch. Such shots set the mood of a scene and set up character positions within the environment.

15. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Framing 03_ Medium Shot (MS) The medium shot frames an individual from either the waist or the knees up, showing the audience just enough to feel as if they are looking at the whole subject. Medium shots are used most frequently for dialogue scenes between two or three individuals. Facial Expressions and gestures are shown, and there is just enough background visible to provide information on the location.

16. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Framing 04_ Close-Up Shot (CU) There are variations of the close-up shot, but the most basic shows a character from the shoulders to the top of the head. Close-ups are used quite regularly in television, particularly in soap operas, creating a close connection between the audience and a character. The intimacy of close-ups focuses on the most expressive part of a person – the face. The close-up is also great for isolating a significant detail. For instance, a gloved hand turning a doorknob might provide the audience with necessary clues.

17. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Framing 05_ Extreme Close-Up Shot (ECU or XCU) Extreme close-up shots are used to elevate tension, mystery, or emotion by filling the frame with an image. This shot is designed to show the detail of a face, or the detail of an object, such as a doorknob. Extreme close-ups are also wonderful for showing emotion, Take for instance a father presenting his young son with a new puppy. Cutting to an extreme close-up of the boy’s enthusiastic face lets the viewer know that he is happy with the dog.

18. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Framing

19. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle • 01_ Bird’s Eye View • 02_ High-Angle shot • 03_ Eye-Level shot • 04_ Low-Angle shot • 05_ Profile shot • 06_ Three-Quarter shot • 07_ Frontal shot • 08_ Canted shot (Dutch shot) • 09_ Over-the-Shoulder shot

20. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle 01_ Bird’s Eye View A bird’s-eye view takes a slightly different approach from the high-angle shot by positioning the camera directly overhead of the action. The bird’s-eye view allows the audience to look down on the buildings and bridges within a city, or perhaps a football stadium.

21. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle 01_ Bird’s Eye View A bird’s-eye view takes a slightly different approach from the high-angle shot by positioning the camera directly overhead of the action. The bird’s-eye view allows the audience to look down on the buildings and bridges within a city, or perhaps a football stadium.

22. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle 02_ High-Angle shot A camera placed higher than the subject (but not directly overhead) and tilted downward often evokes an emotional response from the audience. High-angle shots provide the audience with variety and often suggest a character’s insignificance in the world. A location, or perhaps another person, often dwarfs the object or character.

23. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle 03_ Eye-Level shot This is a fairly neutral shot in which the camera is positioned at eye level with a character. The camera looks the character directly in the eye, when the audience is meant identify with the character as an equal.

24. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle 04_ Low-Angle shot A camera placed lower than the subject and tilted upward often produces shots that are visually exciting to an audience. A low-angle shot of the President, for instance, might inspire awe from the audience, whereas a low-angle shot of a killer makes him appear menacing. Characters of power are often shot at a slightly lower angle to suggest their dominance. Low-angle shots also work well when one character is positioned higher in the frame than the other.

25. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle 05_ Profile shot Also known as a side shot, this angle is composed directly from the side of an object or person at eye level.

26. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle 06_ Three-Quarter shot Also known as a forty-five degree shot, the three-quarter shot provides the strongest composition by positioning the camera between a frontal angle and a profile shot. This shot is used most often because it provides for depth between the foreground and background elements.

27. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle 07_ Frontal shot The camera is positioned directly in front of the subject matter in frontal shots, which are flat, but when used as close-ups, they often convey a feeling of intimacy. Frontal shots are also used for subjective shots, which connect the character to the audience.

28. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle 08_ Canted shot (Dutch shot) Also called the Dutch shot, views an image off-center, or tilted, so that the subject appears to be diagonal and off-balance. This effect creates an unsettling feeling with the audience. We often see canted angles within scenes that portray characters as unhinged, violent, and out of control. Canted shot are used extensively in horror films, psychological dreams, and crime pictures.

29. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Angle 09_ Over-the-Shoulder shot (OS, OSS, or OTS) This shot positions the camera over the shoulder of one character, revealing part of the backside of their head and shoulders in the foreground, and focuses on the character facing the camera in the background. Over-the-shoulder shots are commonly used for framing conversations between two people and are often used in tandem with reaction shots.

30. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Other kinds of Shot __ Two-Shot An interesting shot is the two-shot, in which two characters occupy the frame. There are several variations of the two shot that include positioning characters face to face, placing one character slightly behind another to create depth, and turning one character slightly toward the camera while the others is turned inward. Two-shots are often used to convey a conversation, whether an argument or discussion, between characters.

31. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Other kinds of Shot __ Point of View Shot (POV shot) This shot is taken from the subject’s perspective. It is if you were looking through the eyes of a particular character. The camera represents the eyes of the character and you can see the actions they make.

32. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Other kinds of Shot __ Insert Shot This shot is usually a close-up of an action or an object that is inserted into the main action of a master scene. A photograph resting on a mantle piece is considered an insert shot.

33. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Movement

34. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Movement _ Pan _ Tilt _ Zoom _ Dolly _ Truck _ Pedestal (Ped shot) _ Crane _ Aerial shot _ Steadicam shot _ Zolly shot

35. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Camera Movement

36. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Continuity

37. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Continuity Transition _ Cut _ Dissolve _ Fade _ Wipe A transition is a narrative device that links together two different shots that may change in time, place, location, or characters. Transitions contribute to the pacing of a production, whether it is lyrical or abrupt.

38. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Continuity Camera D The 180-degree Rule 1 2 Camera A Camera C Camera B 2 1 1 2 2 1 Camera C Camera A Camera D

39. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Continuity Screen Direction When rendering storyboards, it is important to plan the direction a person or object moves or looks toward. If a character is facing in one direction in the first shot, and the opposite direction in the second shot, continuity will be jeopardized. This often confuses viewers as to the intent of the scene, especially when there are dozens of shots that make up a scene. A good director will rely on the shot list and storyboards to maintain a consistent screen direction.

40. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Continuity Match on Action Match on action is the illusion that the action continues uninterrupted, even though the camera positions may have changed from one shot to the next. To create a match cut, everything at the end of the first shot must closely match with the action at the beginning of the next shot. It is generally easier to create a match cut by noticeably changing the size of the frame and cutting on the movement.

41. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Continuity Eye Line Match The eye line match creates order and meaning within the story space by matching eye lines between characters or what a character is looking at. Put simply, if a person looks off-screen in the first frame, the audience will expect to be shown what the character sees in the next shot. If a character looks screen left at a character off-screen, then an imagery line of sight will be drawn between him and the off-screen character. By obeying the line of sight, the characters will look toward each other, maintaining eye lines.

42. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING Continuity Cutaway The cutaway technique is used to manipulate time and space. The cutaway should be related to the main action, but not a part of it. For example, while two boxers exchange blows in the ring, you might cut away to jeering fans, or perhaps a refreshments vendor.

43. CA2012 STORYTELLINGFOR COMMUNICATION VISUAL STORYTELLING References: Hyde, S. Idea to Script: Storytelling for Today’s Media. Boston, MA: Allyn and Bacon, 2003. Tumminello, W. Exploring Storyboarding. Vancouver: Thomson/Delmar Learning, 2005.