You will break down a scene many times. Each time, you are looking for something in particular.
For the prop breakdown, the prop person will read the script and write down all the props that are mentioned in the script. The prop person might also read the original story and make a list of optional props. This is all very straight forward.
Storyboard breakdown is not as easy.
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Pedromax says, "For first shot, I'd choose picture no 10 and would pull back the camera to frame the two characters, just like image 8 shows. Opening with the vision of the poster would mark the conversation object to the viewer right from beginning." - 4 points
Fat Penguin says, "For first shot, I propose frame 11. This frame gives a clear view of the characters' faces, this catches the viewers' attention, now they will be wondering what are the two persons looking at? Who are they? And that's why for second shot I chose frame 15, a clear view of the surroundings where also the movie poster is visible." - 4 points
Quintana4 says, "I would chose frame #1 as the first shot, as it serves as an establishing scene, immediately answering "who" and "where". Frame #6 would would comprise the second shot and would reveal the characters faces and focus on the young adult's starting dialogue." - 4 points
Still Life says, "I would start with frame #6 because the story starts with the young person's confusion and ends with her/his lightening. So it would be nice to distinguish the young person from the old one. It also makes us wonder what they are looking at. I would go on with frame #10 to tell the audience what they are talking about." - 4 points
· Version 1: "As classical as can be"
Greg From Austin says, "I will start with an establishing shot (thumbnail 1). In this case, I would eventually add ESTABLISHING to the scene heading in the script. I will then move closer (and knowing that the young person will talk first, I may very well go with shot 17 (and therefore make the decision that the line of action goes from the poster to the younger person, and that I will not cross it)" - 4 points
· Version 2: "A little more creative"
Greg From Austin says, "My own preference would be as follow: 11 then 10. And I will start the dialogue (the young person saying it was a great movie) while still on frame
10. It doesn't show the movie theatre as well as the first version, but it
gives more intimacy with the characters and gives makes the movie itself
more important." - 2 points extra credit
Bobilobio says, "The over the shoulder shot is a good angle that captures both characters in the story as well as the poster, which is the subject at hand. Without the poster somewhere near the beginning frames, the meaning would be lost on the viewers. " - 4 points
Aryansri says, "I would first take number 10 because it would show the poster and give the audience an idea about what the subjects are looking at. Then I would go for number 3 as it would show us the subjects. The audience would be able to understand the situation (i.e it is a movie theater) in the first shot and the people involved in the second shot." - 4 points (13 February 2007)
Tedrick022 says, "For the first shot I would probably choose #8 because it clearly presents the scene, it shows both characters and the poster. For the second shot I would choose frame #13 because it clearly defines the young person as the speaker while still keeping the older person and the poster in the scene, this reinstates the scene while showing that the child is about to say a line. " - 4 points (13 February 2007)
Koolaidman says, "The first shot is 8, it shows the two people standing in front of the poster. If 8 weren't there I would have chosen 1 but I like 8 better because it doesn't have all of that white space around the people like 1 does.
The second shot is 13 because it shows the young person turning to the older person getting ready to talk. " - 4 points (19 February 2007)
L. K. LaRose says, "Shot #1 anchors the scene the two characters outside of the theater looking at the poster, giving us time to lead into the characters. Shot #3 then establishes the characters, the older wiser person and the younger person, as they continue to contemplate the poster. The camera moving from shot 1 to 3 establish suspense with the audience." - 4 points (21 February 2007)
Forbe says, "The first shot should be shot 10, the big poster shot. It introduces the subject of the Star Wars film and gears up the audience for the deep Star Wars discussion about to take place between the two people. Shot 16 should be second--this shot ties in the personal aspect of the film, and hints at the thought running through the young person's mind ("How is someone seduced by the Dark Side?"); it also stays in smooth sequence with the first shot--the audience can tell by the angle that the young person is looking at the poster. " - 4 points (10 March 2007)
Cluv138 says, "Shot number 10 then shot Number 8." - 4 points (21 March 2007)
I have made my own shot. Its a kind of wide shot, framing the movie theater from outside, you can see the main movie board, the box office, footpath, road and the poster n subjects. The poster is illuminated from the top, the light also falls on the subjects. This I feel is a essential first shot, coz it summarizes to the viewer about the location where this incident is taking place. And as the subjects are illuminated by the light on the poster, they wont be missed in all the hub-bub on the street.
For shot 2, I will choose image number 15 from your list, its a close up shot. The frame shows the poster, which immediately becomes the center of interest coz both the subjects are looking at it. Its also a introduction shot of both the subjects, though the angle of the camera doesnt completely describe the younger character (shows back of the head), shifting the angle a lil bit will do the trick." - 4 points + 2 points for an original drawing (22 March 2007)
"1st shot - #15: It automatically grabs my attention and makes me question why they are staring at the poster.
2nd shot - #22: It shows the older person as larger which makes him/her look wise and intelligent, The younger person's head it tilted upward towards the older persons as if they admire them. " - 4 points (24 March 2007)
"1. A panoramic view, moving very slowly to the interest point: the movie theatre. Is the place where the question appeared, a magic point, a place where the seeds of multiply possibilities come to life.
2. The young person face and his expression of wonder. Everything dies in his eyes and becomes part of his mind." - 4 points (5 April 2007)
Note from Instructor: Remember, a script can be turned into an animated motion picture which can have very unusual visualization. This movie does not have to be realistic live action. Always keep an open mind when you read a script. This is an excellent example from The Mirror.
"On the first shot, I would use no. 21. I would like to show to everyone where everything is going on. The time of a day, the place of action. Then with slow zooming (if possible) to pict no.1. It would still be the one shot I think. And it would fit the best for my script too :).
For the second shot, I would choose no. 4. It would best represent the both characters. From that shot everyone can see clearly the young and the old person. Differences between them. Emotions and gestures they make (again from my script).
I can explain why I didn't chose a shot where you can clearly see a poster. (If slow zoom to pict no.1 is impossible.) First of all in pict no. 21, you can see the name of the movie and the small poster itself. And the in the shot no.4, it is obvious that they are looking at the poster. The viewers imagination would make bigger impression than the bigger poster on screen. (In my opinion of course:)) " - 4 points (26 April 2007)
"For the first shot, I would use shot #1, because I want to communicate the focus on the poster to the exclusion of anything else. Second, I would use shot #22, since in my script, the young person is the first to speak. The camera is pointed at her face already, and the first dialogue in the script is the younger person's question to the older person---when the older person speaks, this camera angle gives the best angle for such an effect." - 4 points (29 April 2007)
"21 for the first shot because it feels like an establishing shot. People coming out of the cinema, cars passing by... 8 for the second because you can inmediately see the poster and the two characters involved. Afterwards I would use the close ups." - 4 points (30 April 2007)
I believe the first shot could be shot number 21. It is the first shot of the short movie and it shows the movie theater, and the two people standing next to the poster. This gives the viewer all the information that they need to be able to understand that these two people are at the movies, that it is at night, and you briefly see that there are two subjects, which later we will get more information when they converse.
For the next shot, I would choose number 15. I chose this shot because it is more interesting than 8 or 1. It's a lot more interesting to see something with more perspective than two people standing parallel to the wall. With less perspective (shots 1 and 8) the shot is not as lively, we don't get the feeling of the 3D shapes as we do in shot 15.
" - 4 points (1 May 2007)
"My pick for the first scene would have to be 21. The reason being that it is a wide shot during (preferably) dusk exposing not only the color scale, but more importantly the over all mood of the story and film.
My pick for the second scene would have to be number eight. Though it may look like a cheesy close up, it would show what the characters were looking at and show texture. Plus, it would signify the symbolic relationship between an older generation to a newer one." - 4 points (10 May 2007)
"For the first frame I would choose #10 because it shows the movie poster which is what they are looking at. Then I would pull back to #8 because it shows the characters looking at the poster." - 4 points (17 May 2007)
"I want a very broad view of the first scene to set the context for the viewer. The second shot should show the persons involved. It should not break the 180 degree rule, so any shot taken from the side showing the old person closer to the camera would be bad. But any shot from behind or the side with the young person closer would be ok. I want the picture to show the emotions and state of mind of the characters. I would maybe choose a perspective a little higher up than waist, so maybe neck height." - 4 points (22 May 2007)