This document provides a storyboard for a film opening scene. It describes a series of shots showing a female character sitting and rocking back and forth while whispering. A zoom shot is used to build suspense. Title credits are shown in small font on a black screen to represent her imprisonment. Further shots establish the setting using pans, close-ups of objects, and point-of-view shots from the character's perspective. Sound is used to increase tension, including demonic voices and the character's pencil scratching. The storyboard cuts between shots of the character and her unconscious husband on the floor to reveal her deteriorating mental state.

1. STORYBOARD: DRAFT

3. THE SHOT OPENS WITH A MEDIUM SHOT OF THE FEMALE
CHARACTER SAT ON THE FLOOR, ROCKING BACK AND FORTH.
THE DIEGETIC SOUND IN THIS SHOT IS THE FEMALE
CHARACTER’S INAUDIBLE WHISPERING. THE USE OF A ZOOM
ADDS DRAMATIC EFFECT CREATES AN ELEMENT OF SUSPENSE
AND FEAR BECAUSE THE AUDIENCE DOES NOT KNOW WHAT
THEY ARE GOING TO SEE NEXT, AND IT MAKES THEM ANXIOUS
TO SEE THE CHARACTER’S FACE.

5. THIS SHOT SHOWS THE TITLE CREDITS AND IT IS IN A
SMALL FONT IN THE MIDDLE OF THE BLACK SCREEN. THIS
REPRESENTS THE FEMALE CHARACTER’S IMPRISONMENT,
AND IT ALMOST SEEMS AS IF SHE IS BEING ENGULFED IN
THE DARKNESS.

7. THE MOVEMENT AND PLACEMENT IN THIS SHOT IS
IMPORTANT. THE PANNING SHOT NOT ONLY PROVIDES
INFORMATION BUT ALSO TO ENGAGE THE AUDIENCE IN
THE TOTAL ENVIRONMENT. THIS SHOT ESTABLISHES THE
SCENE, AND ALLOWS THE AUDIENCE TO SEE THE
“AFTERMATH” AND PIECES OF WALLPAPER THE FEMALE
CHARACTER TEARS OFF THE WALL.

11. A SERIES OF CLOSE-UP SHOTS ARE USED IN THE
BEGINNING AS THEY SHOW THE IMPORTANCE OF
CERTAIN OBJECTS IN THE ROOM. IT CREATES AN INTENSE
ATMOSPHERE, THUS HEIGHTENING THE FEAR AS THE
AUDIENCE IS ABLE TO FOCUS ON THE DETAILS IN THE
SHOT.

14. EXTREME CLOSE-UP SHOTS ARE USED TO PUT EMPHASIS
ON AN OBJECT AND PART OF THE CHARACTER’S FACE OR
BODY. THIS SHOT FOCUSES ON IS THE CHARACTER
PICKING UP THE PENCIL, WHICH IS A HUGE SIGNIFICANCE
TO THE FILM, AS IT ALLOWS THE AUDIENCE TO GET A
GLIMPSE OF THE CHARACTER’S MADNESS. THIS SHOT
ALSO CREATES AN INTENSE MOOD AND PROVIDES AN
INTERACTION BETWEEN THE AUDIENCE AND THE VIEWER
(FEMALE CHARACTER).

16. A MID-SHOT GIVES A MORE PRECISE VIEW OF THE
CHARACTER AND EASILY PORTRAYS THE CHARACTER IN
THE ENVIRONMENT THEY ARE SURROUNDED IN. IN THIS
SHOT, THE FEMALE CHARACTER IS SEEN CRAWLING TO
HER DESK AND SHE IS NOT YET REVEALED.

19. THE CAMERA FOLLOWS TO THE BACK OF THE FEMALE
CHARACTER’S HEAD, AND THIS TRANSITIONS INTO A
POINT-OF-VIEW SHOT. THIS ENABLES THE AUDIENCE TO
SEE THE FILM THROUGH THE EYES OF THE CHARACTER.
THE SHOT THEN SHOWS THE FEMALE CHARACTER
WRITING “I’VE GOT OUT” IN HER JOURNAL.

20. FURTHERMORE, TO CREATE A SMOOTHER
TRANSITION TO THE POINT-OF-VIEW SHOT, THE
CAMERA WILL FADE IN AND OUT TO MIMIC THE
FEMALE CHARACTER’S BLINKING.

22. AT THIS POINT, DEMONIC VOICES CAN BE HEARD AND
GRADUALLY GET LOUDER. THIS IS MAKE THE AUDIENCE
FEEL UNEASY AND DISTRESSED BECAUSE THEY DO NOT
KNOW WHERE THE NOISE IS COMING FROM. THE USE OF
NON-DIEGETIC SOUND ALSO CREATES AMBIGUITY. IN
THIS SHOT, THE FEMALE CHARACTER CAN BE SEEN
TRYING TO BLOCK AWAY THE VOICES BY COVERING HER
EARS.

24. FOR MY FILM OPENING, I LIKE THE IDEA OF BUILDING UP
TENSION WITH THE USE OF DIEGETIC AND NON-DIEGETIC
SOUND. I HAVE PAIRED THE SOUND OF THE PENCIL
SCRATCHES (IN THE SCENE WHERE THE FEMALE
CHARACTER IS WRITING IN HER JOURNAL) AS IT MAKES
THE SCENE APPEAR MORE REALISTIC.

28. TO MAKE THE AUDIENCE FEEL AGITATED, I WILL
GRADUALLY BUILD AND MAKE THE SOUND OF THE
DEMONIC VOICES GET LOUDER, THEN ABRUPTLY STOP
WHEN THE FEMALE CHARACTER HEARS SHUFFLING
BEHIND HER - SHE THEN LOOKS BEHIND HER. AFTER THIS,
SHE CLOSES HER JOURNAL AND THE SCENE CUTS TO
BLACK.

30. THE SCENE THEN OPENS SHOWING THE
FEMALE CHARACTER CRAWLING BACK TO
WHERE SHE SAT IN THE BEGINNING OF
THE FILM.

32. IN THIS SHOT, THE FEMALE CHARACTER LOOKS DOWN TO
HER LEFT AND THEN SAYS, “YOU’LL BE OK YOUNG
MAN...REST WELL DEAR.” AGAIN, THIS MAKES THE
AUDIENCE FEEL APPREHENSIVE AS THEY DO NOT KNOW
WHO SHE IS TALKING TO.

34. A ZOOM OUT IS USED AND REVEALS WILL
(HER HUSBAND), LYING ON THE FLOOR,
UNCONSCIOUS.

36. A LONG SHOT IS USED TO ESTABLISH THE SETTING OF
THE SCENE AND AGAIN, SHOWS THE ENVIRONMENT OF
THE CHARACTERS. IN THIS SHOT, THE FEMALE
CHARACTER IS CRAWLING BACK TO HER DESK AND HER
HUSBAND CAN BE SEEN BEHIND HER.

38. AN OVER-THE-SHOULDER IS USED IN THIS SHOT TO
SHOW THE FEMALE CHARACTER FLIPPING TO THE VERY
FIRST PAGE OF HER JOURNAL. THE CAMERA THEN
FOLLOWS FROM BEHIND HER TO THE FRONT OF HER FACE.

40. A VERTICAL PAN IS USED TO REVEAL THE FEMALE
CHARACTER. HOWEVER, THIS TIME, HER APPEARANCE IS
MUCH BETTER AND HER HAIR IS SHORTER. THIS
INDICATES HOW THE FEMALE CHARACTER WOULD LOOK
LIKE AT THE START OF THE FILM.

42. FURTHERMORE, THERE IS NO MORE LETTERBOX,
BUT MAKE THE AUDIENCE FEEL ENCLOSED, A CLOSE
UP OF THE FEMALE CHARACTER’S FACE IS SHOWN.

44. THE DEMONIC VOICES GRADUALLY GET
LOUDER AGAIN, AND THE SHOT CUTS,
SHOWING THE TITLE OF THE FILM:
ANONYMOUS.