Storyboard for our music video

1. STORYBOARD
Becky, Sam and Ellie

2. Sequence 1
• For this first sequence there will be two cameras.
Both cameras will be positioned adjacently, which will
achieve two different viewpoints and will help us to
ensure a greater variety of shots.
• Camera one will slowly pan up her body from her
waist to her head. Camera one, whilst panning
upwards will slowly focus on the dancer. We are
doing this to create a ‘bokeh’ effect with the reflected
light from the dancers outfit. We also feel a soft,
unclear first shot emulates the bizarre sound effects
that make up the first section of the song. Camera
two will be static and draw attention to the
movements of the dancer rather than the camera.
Our dancer will be framed centrally and both
cameras will be a mid-to-close-up shot.
• The location will be our school drama studio – a large
dark room with stage lighting, which we will use to
our advantage and to create strong directional
lighting and as a result a dramatic tone. The lighting
will also be adjacent and opposite to the cameras so
that when the dancer faces towards the camera,
strong directional lighting will always fall on one side
of her face, whilst a second light will consistently be
behind the dancer acting as a backlight.
• There will be a basic cut transition during position 2.
Camera Direction
Cam 1
Cam 1
Cam 1
Cam 2
Cam 2
Cam 2

3. Sequence 2
• For this second sequence there will be one camera.
The camera will pan and follow her movement, the
camera movements can be seen to the left with the
orange circle being where the camera is starting, and
the white dots are where the camera will pan to.
• Camera one will slowly pan around her body. We are
doing this to follow her body movement and add to
the continuity.
• Our dancer will be framed centrally, and our camera
will always follow her to ensure she is central. We are
focused on her body movements and thus in order to
capture them, the camera will move faster than her in
several sequences. This reflects that she has been
slowed down due to her emotions weighing her
down.
• The location will be our school drama studio again.
We are going to use the strong directional lighting
again, with a red/orange tint to it to show the warmth
she first has in her emotion – emulating the
beginning of the relationship.
• The lighting will also be adjacent and opposite to the
cameras so that when the dancer faces towards the
camera the lighting will highlight her silhouette.
Camera Direction

4. Sequence 3
Camera Direction
• The camera begins at a a low angle and then
vertically pans, becoming a birds eye view shot,
looking down on the dancer. This will connote her
innocence and lack of power.
• We are going to try and make or buy something
which will help us achieve smoothness in this shot.
• Our other option is to possibly use hand held,
however it wouldn’t achieve the desired smoothness.
• The shot type will be a mid to close up shot all above
and around her head.
• Dark background
• Reflective dress
• Strong directional lighting

5. Sequence 4
• This is our most challenging shot within the music
video. The shot type is a 270 degree, bullet time
shot. This will be made up of roughly 15/20 cameras
(as a minimum), all filming simultaneously, which will
ensure and hopefully enable a fluent continuous
panning shot.
• We were inspired to do this by the Pepsi Max advert
and a particular scene within the Matrix. We have
planned to put our own spin on it.
• The shot will focus on the dancer spinning. To ensure
a controlled use of camera, we will work hard to
make sure that all cameras are equally aligned and
have the same focal length.
• Our dancer will be centered throughout in each shot,
therefore ensuring continuity.
• Her outfit will include a black dress,
• However, we will be bringing a white and black dress
to test trial both to see which one looks better with
the background and the lighting.
• Location would once again be in the dance studio, for
continuity.
Camera Direction

6. Sequence 5
• This shot will be a tracking shot, following her
dynamic movements
• The shot will zoom out to a long shot, where you will
be able to see her full movement and body
• Reflective dress
• Black background
• Strong directional lighting
• Drama studio
• Potential studio coloured lights
Camera Direction

7. Sequence 6
• Static long shot
• Tripod
• Enables the audience to focus on the movements
and not be distracted by tracking movements
• Black bacgrkound
• Strong directional lighting
• Reflective dress
• Well considered cuts throughout of the symbolic
imagery
Camera Direction

8. Sequence 7
• This shot will be long shot and will feature a subtle
track to the right in a semi circle motion.
• reflective dress
• Black background
• Strong directional lighting
Camera Direction

9. Sequence 8
• Tracking close up on her body following and tracking
her body movements
• Reflective dress
• Black background
• Strong directional lighting
• Drama studio (featuring some lights in the
background to make the desired ambience)
Camera Direction

10. Sequence 9
• This shot will be a mid shot and follow her
movements again
• Black reflective dress
• Black background
• Drama studio
• Strong lighting (coloured)
• Allow the audience to focus on her movements and
expressions
Camera Direction

11. Sequence 10
Camera Direction
• Pan around to a left, following her
movement and head
• Strong directional lighting
• Drama studio
• Reflective black dress
• Strong coloured lights focused on the
dancers face
• Harsh movements to reflect her broken
state mind

12. Sequence 11
• Final shot in section one of the first dance scene
(solo)
• This shot will be a long shot, which will enable the
audience to watch her final moves in full, before the
next scene. Enabling the audience to understand and
interpret her moves.
• Reflective dress
• Drama studio
• Strong directional lighting
Camera Direction