The document provides a shot list for a film scene depicting interactions between two characters, Ember and Riley. It contains 95 shots ranging from 1 second to 15 seconds in length. The shots progress from Ember preparing for the day and encountering a zombie, to Riley arriving at Ember's house with an offering of beans. The characters share a meal and have a long conversation consisting of many close-up shots focusing on each as they speak. They discuss their situations in the zombie apocalypse. In the final shots, Riley and Ember prepare to leave together.
The document describes 7 scenes from a film sequence. Scene 1 begins with a close-up of a pond and uses shallow depth of field and panning shots. Scene 2 introduces a character sleeping with a cat and uses continuity editing. Scene 3 uses panning from right to left with shallow depth of field. Scene 4 returns to the pond scene. Scene 5 uses a high angle tracking shot. Scene 6 introduces a new setting with panning and establishes characters. Scene 7 uses various shots including medium close-ups, establishing shots, and breaks the 180 degree rule.
The document outlines 16 shots for a music video. Shot 1 will show clouds moving fast-forward at the start of the song. Shot 2 establishes the scene with a blurry long shot. Shot 3 shows the protagonist in the background to establish them. Shot 4 is an over-the-shoulder view of the protagonist walking without showing their face. Shots 5-8 establish different angles of the protagonist. Shots 9-11 focus on the protagonist lip syncing and singing with blood seeping from their mouth. Shots 12-13 show the protagonist wiping blood away and establish more scenery from a tracking shot. Shots 14-15 show increasing amounts of uncontrolled blood falling from the protagonist's mouth as the song ends
The document outlines the camera shots and title sequences for the opening of a film. It will begin with a tracking shot up to a house at night with a light on in the kitchen. There will be cuts between this shot and title cards, including some close-ups showing knives and food being prepared. The camera will continue tracking in on the house. Later shots will show tomatoes being chopped and soup being poured, with production company names appearing throughout. Dialogue scenes will take place in a room, shot primarily with reverse shots between two characters. The kitchen will also be used to show a character discovering a dead body.
Arc and Elle are shown in various intimate moments throughout their home, from cuddling on the sofa to arguing in the kitchen. The camera captures them getting high together, with drugs and a lighter shown up close. Their relationship seems passionate yet turbulent, as they are seen both lovingly embracing and angrily shouting at one another. Elle is shown crying while doing her makeup, and at one point a mug is thrown and breaks against the wall. The documentary ends with Arc standing alone in the dark, rapping about not sleeping much and being in a comatose state when he does.
A starry wolf approaches a sleeping fox in a meadow under a starless sky. The wolf presents the fox with a quiver that causes stars to appear when worn. Encouraged by the wolf to "carry on," the fox explores the night sky as the wolf watches then bids the fox to begin a new adventure, fading into the stars. The hopeful fox runs off, ready to journey into the night.
Fight Club's opening sequence establishes the thriller genre through its use of music, editing techniques, and shots that create tension. It begins with the narrator at gunpoint, establishing an antagonist in Tyler Durden. Shots use close-ups and framing to portray the narrator as vulnerable and Tyler as powerful. The sequence cuts between shots matching the action to smoothly transition between angles. Sound and music build an unsettled tone to intrigue viewers about the unfolding plot.
The document is a timeline that outlines various shots in a film through brief descriptions and timecodes. It follows an actress from waking up confused and lost, to wandering the streets, using and dealing drugs, and ultimately committing suicide in her bathtub while holding her necklace. The timeline uses short, precise descriptions to delineate multiple establishing shots, close-ups, and interactions that comprise her deteriorating mental state and downward spiral over the course of the film.
This document provides a shot-by-shot breakdown for a music video. It includes over 50 shots ranging from long shots to extreme close-ups of various characters. Many of the shots involve special effects in Final Cut Pro like speeding up or slowing down footage, adding strobing lights, or using mirroring/layering. Camera movements are limited, with most shots keeping the camera stationary and relying on actor movement or special effects to advance the story.
The document describes 7 scenes from a film sequence. Scene 1 begins with a close-up of a pond and uses shallow depth of field and panning shots. Scene 2 introduces a character sleeping with a cat and uses continuity editing. Scene 3 uses panning from right to left with shallow depth of field. Scene 4 returns to the pond scene. Scene 5 uses a high angle tracking shot. Scene 6 introduces a new setting with panning and establishes characters. Scene 7 uses various shots including medium close-ups, establishing shots, and breaks the 180 degree rule.
The document outlines 16 shots for a music video. Shot 1 will show clouds moving fast-forward at the start of the song. Shot 2 establishes the scene with a blurry long shot. Shot 3 shows the protagonist in the background to establish them. Shot 4 is an over-the-shoulder view of the protagonist walking without showing their face. Shots 5-8 establish different angles of the protagonist. Shots 9-11 focus on the protagonist lip syncing and singing with blood seeping from their mouth. Shots 12-13 show the protagonist wiping blood away and establish more scenery from a tracking shot. Shots 14-15 show increasing amounts of uncontrolled blood falling from the protagonist's mouth as the song ends
The document outlines the camera shots and title sequences for the opening of a film. It will begin with a tracking shot up to a house at night with a light on in the kitchen. There will be cuts between this shot and title cards, including some close-ups showing knives and food being prepared. The camera will continue tracking in on the house. Later shots will show tomatoes being chopped and soup being poured, with production company names appearing throughout. Dialogue scenes will take place in a room, shot primarily with reverse shots between two characters. The kitchen will also be used to show a character discovering a dead body.
Arc and Elle are shown in various intimate moments throughout their home, from cuddling on the sofa to arguing in the kitchen. The camera captures them getting high together, with drugs and a lighter shown up close. Their relationship seems passionate yet turbulent, as they are seen both lovingly embracing and angrily shouting at one another. Elle is shown crying while doing her makeup, and at one point a mug is thrown and breaks against the wall. The documentary ends with Arc standing alone in the dark, rapping about not sleeping much and being in a comatose state when he does.
A starry wolf approaches a sleeping fox in a meadow under a starless sky. The wolf presents the fox with a quiver that causes stars to appear when worn. Encouraged by the wolf to "carry on," the fox explores the night sky as the wolf watches then bids the fox to begin a new adventure, fading into the stars. The hopeful fox runs off, ready to journey into the night.
Fight Club's opening sequence establishes the thriller genre through its use of music, editing techniques, and shots that create tension. It begins with the narrator at gunpoint, establishing an antagonist in Tyler Durden. Shots use close-ups and framing to portray the narrator as vulnerable and Tyler as powerful. The sequence cuts between shots matching the action to smoothly transition between angles. Sound and music build an unsettled tone to intrigue viewers about the unfolding plot.
The document is a timeline that outlines various shots in a film through brief descriptions and timecodes. It follows an actress from waking up confused and lost, to wandering the streets, using and dealing drugs, and ultimately committing suicide in her bathtub while holding her necklace. The timeline uses short, precise descriptions to delineate multiple establishing shots, close-ups, and interactions that comprise her deteriorating mental state and downward spiral over the course of the film.
This document provides a shot-by-shot breakdown for a music video. It includes over 50 shots ranging from long shots to extreme close-ups of various characters. Many of the shots involve special effects in Final Cut Pro like speeding up or slowing down footage, adding strobing lights, or using mirroring/layering. Camera movements are limited, with most shots keeping the camera stationary and relying on actor movement or special effects to advance the story.
The survey results from the trailer for the show found that 80% enjoyed the trailer and 66.7% said it made them want to see the show. People particularly enjoyed the timing of the music and a character's entrance at the end. Some improvements mentioned were adding costumes, using the stage more, brighter lighting, and smoother camerawork. Over half of respondents were female, all of whom liked the trailer.
The film team blocked out where actors would be, practiced lighting setups, and tested camera equipment and settings before filming the trailer in one lesson. Post-production editing took additional time. While the steady-cam work went well, better individual actor shots could have provided smoother transitions.
Overall,
The proposal outlines a main promotion video idea for a school production of Les Miserables. The video would follow the character Gavroche as he picks up bullets and a red flag and enters the stage area through the gym doors during the song "Do You Hear the People Sing". The camera would follow and pan to show the principles grouped on stage under spotlights as Gavroche waves the red flag at the end. It requests use of the school hall, stage and lighting equipment for a few hours after school or during rehearsal time on Tuesdays. It also outlines that a camera, participation of principles, recording of the song, costumes, a red flag prop and fake bullets would be needed, but no budget
Ember lives alone with her dog in her house after losing her mother. One day, a stranger named Riley knocks on her door seeking shelter. Though suspicious of Riley, Ember lets her in out of loneliness. Over a meal, they share their stories of losing loved ones. However, Ember suspects Riley of stealing food from other survivors. Riley plans to leave in the night but changes her mind, staying for the human connection they both crave.
This document is a script that tells the story of Ember, a woman living alone with her dog since the outbreak. She encounters Riley, a traveling woman looking for shelter. Ember is distrustful but lets Riley stay after learning of her own losses. They bond over shared loneliness but Ember suspects Riley of stealing from others. In the end, Ember offers companionship to Riley, though it's unclear if Riley will stay or steal from Ember as well. The document explores themes of trust, loneliness, and survival in a post-outbreak world.
This document provides a summary of scenes from a script that follows Ember and Riley. Ember lives alone with her dog after losing her mother. She is suspicious of Riley, a traveler who arrives seeking shelter. Though Ember believes Riley steals from others, she allows Riley to stay due to her own loneliness. In the night, Riley considers leaving but decides to stay in the morning instead. The script explores the relationship between the two solitary survivors and their struggles with loss, trust, and companionship in the post-apocalyptic world.
Maria finds a USB stick containing secret videos of her missing best friend Ashley. In one video, Ashley is upset and agrees to meet someone. Kyle tells Maria he overheard Ashley was meeting Kieran that night. Maria warns Sara, Ashley's twin, about Kieran but Sara takes her into the woods. Sara admits to killing Ashley out of jealousy over the attention Ashley received. A fight ensues and Maria knocks Sara unconscious before escaping.
The document is a shot list from a film containing 58 shots. It provides descriptions of each shot including the shot type, details of what is shown, shot duration, and camera movements and transitions between shots. The shots document scenes involving two girls having a picnic in the forest, one of the girls running and looking distressed, the girl walking in town and interacting with others, and scenes at her school.
Production schedule for filming and editingIsabellaBown
This document outlines the production schedule for filming and editing a student film project. It includes:
- Filming of scenes from January 19-26 at the student's home, involving actors Hannah, Caitlin, and Archie. Props include costumes, a knife, backpack, beans, and a dog. Equipment includes a camera, microphones, and lights.
- Post-production work from February 24-March 27, including watching footage, uploading footage, initial editing, repeated editing sessions, showing peers for feedback, and deadline on March 27. All post-production work will take place using the student's computer.
Ember lets a stranger named Riley stay the night after meeting her at the door. Riley claims to travel and find shelter by gaining people's trust, but Ember suspects she steals food. They both open up about losing loved ones. Though distrustful, their loneliness leads Ember to offer Riley a place to sleep. In the morning, Riley remains, indicating she chose companionship over leaving or stealing.
The document provides a shot list for a film scene involving characters Ember and Riley. It describes 75 shots ranging from close-ups to long shots showing the characters interacting over a meal and conversation. The shots involve character reactions, dialogue exchanges portrayed through alternating close-ups of each character's face, and establishing shots of the setting and characters. The goal is to capture the conversation in an engaging way through these filmed shots from different angles and perspectives.
This document is a screenplay that tells the story of Ember, a woman living alone with her dog after the loss of her mother. One day, a woman named Riley knocks on Ember's door asking for food and shelter. Though suspicious of Riley's claims about where she got her food, Ember allows her to stay the night out of loneliness. They share their stories of loss and surviving alone. Ember suggests Riley stay longer as they both could benefit from another person's company. The screenplay ends with Riley appearing guilty as she looks at her bag, implying she may steal from Ember despite Ember's kindness.
The proposed lower school radio and TV advertisements would feature a Year 7 student from Ringwood School discussing their experiences. For the TV ad, the student would talk about the school's subjects, opportunities, and student support over footage showing a bright, sunny school environment. The radio ad would also include the student using more advanced vocabulary to discuss opportunities, portraying the school's focus on preparing students. Both ads aim to provide an authentic student perspective to appeal to parents and demonstrate the school's focus on learning, development and future success.
03. unit 1 student guidebook and checklistIsabellaBown
This document provides information and tasks for learners to complete an assignment on analysing media products and audiences. It includes:
- A scenario where learners will produce an online educational resource on the film industry focusing on Disney and Star Wars: The Force Awakens.
- 5 tasks involving researching Disney Studios as a case study, analysing the trailer for The Force Awakens, profiling the target audience, creating a timeline of the production/distribution/advertising process, and exploring the legal/ethical issues and impact/representation of the film.
- Guidance on formatting, sources, and level of analysis required for each task. Learners will design webpages for the educational resource and complete
The document outlines several codes of conduct and rules that must be followed when using a child actor or including children in advertisements. It discusses:
- Legal work hour limits and licensing requirements for child actors
- Obtaining permission from any children featured
- Avoiding slander, copyrighted content, offensive language, and violence
- Ensuring advertisements do not mislead or exploit children's vulnerabilities
- Not directly exhorting children to purchase products
- Clearly identifying advertising content from program content
- Respecting children's welfare, dignity, and avoiding unnecessary distress
- Obtaining parental permission if featuring children
The document contains information about creating a radio advertisement for Ringwood School, including:
1) Four potential music tracks for the ad with analyses of their suitability.
2) Details on two potential recording studio locations, including their costs and risks.
3) A production schedule and consideration of codes of conduct when using a child actor or voice.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
The survey results from the trailer for the show found that 80% enjoyed the trailer and 66.7% said it made them want to see the show. People particularly enjoyed the timing of the music and a character's entrance at the end. Some improvements mentioned were adding costumes, using the stage more, brighter lighting, and smoother camerawork. Over half of respondents were female, all of whom liked the trailer.
The film team blocked out where actors would be, practiced lighting setups, and tested camera equipment and settings before filming the trailer in one lesson. Post-production editing took additional time. While the steady-cam work went well, better individual actor shots could have provided smoother transitions.
Overall,
The proposal outlines a main promotion video idea for a school production of Les Miserables. The video would follow the character Gavroche as he picks up bullets and a red flag and enters the stage area through the gym doors during the song "Do You Hear the People Sing". The camera would follow and pan to show the principles grouped on stage under spotlights as Gavroche waves the red flag at the end. It requests use of the school hall, stage and lighting equipment for a few hours after school or during rehearsal time on Tuesdays. It also outlines that a camera, participation of principles, recording of the song, costumes, a red flag prop and fake bullets would be needed, but no budget
Ember lives alone with her dog in her house after losing her mother. One day, a stranger named Riley knocks on her door seeking shelter. Though suspicious of Riley, Ember lets her in out of loneliness. Over a meal, they share their stories of losing loved ones. However, Ember suspects Riley of stealing food from other survivors. Riley plans to leave in the night but changes her mind, staying for the human connection they both crave.
This document is a script that tells the story of Ember, a woman living alone with her dog since the outbreak. She encounters Riley, a traveling woman looking for shelter. Ember is distrustful but lets Riley stay after learning of her own losses. They bond over shared loneliness but Ember suspects Riley of stealing from others. In the end, Ember offers companionship to Riley, though it's unclear if Riley will stay or steal from Ember as well. The document explores themes of trust, loneliness, and survival in a post-outbreak world.
This document provides a summary of scenes from a script that follows Ember and Riley. Ember lives alone with her dog after losing her mother. She is suspicious of Riley, a traveler who arrives seeking shelter. Though Ember believes Riley steals from others, she allows Riley to stay due to her own loneliness. In the night, Riley considers leaving but decides to stay in the morning instead. The script explores the relationship between the two solitary survivors and their struggles with loss, trust, and companionship in the post-apocalyptic world.
Maria finds a USB stick containing secret videos of her missing best friend Ashley. In one video, Ashley is upset and agrees to meet someone. Kyle tells Maria he overheard Ashley was meeting Kieran that night. Maria warns Sara, Ashley's twin, about Kieran but Sara takes her into the woods. Sara admits to killing Ashley out of jealousy over the attention Ashley received. A fight ensues and Maria knocks Sara unconscious before escaping.
The document is a shot list from a film containing 58 shots. It provides descriptions of each shot including the shot type, details of what is shown, shot duration, and camera movements and transitions between shots. The shots document scenes involving two girls having a picnic in the forest, one of the girls running and looking distressed, the girl walking in town and interacting with others, and scenes at her school.
Production schedule for filming and editingIsabellaBown
This document outlines the production schedule for filming and editing a student film project. It includes:
- Filming of scenes from January 19-26 at the student's home, involving actors Hannah, Caitlin, and Archie. Props include costumes, a knife, backpack, beans, and a dog. Equipment includes a camera, microphones, and lights.
- Post-production work from February 24-March 27, including watching footage, uploading footage, initial editing, repeated editing sessions, showing peers for feedback, and deadline on March 27. All post-production work will take place using the student's computer.
Ember lets a stranger named Riley stay the night after meeting her at the door. Riley claims to travel and find shelter by gaining people's trust, but Ember suspects she steals food. They both open up about losing loved ones. Though distrustful, their loneliness leads Ember to offer Riley a place to sleep. In the morning, Riley remains, indicating she chose companionship over leaving or stealing.
The document provides a shot list for a film scene involving characters Ember and Riley. It describes 75 shots ranging from close-ups to long shots showing the characters interacting over a meal and conversation. The shots involve character reactions, dialogue exchanges portrayed through alternating close-ups of each character's face, and establishing shots of the setting and characters. The goal is to capture the conversation in an engaging way through these filmed shots from different angles and perspectives.
This document is a screenplay that tells the story of Ember, a woman living alone with her dog after the loss of her mother. One day, a woman named Riley knocks on Ember's door asking for food and shelter. Though suspicious of Riley's claims about where she got her food, Ember allows her to stay the night out of loneliness. They share their stories of loss and surviving alone. Ember suggests Riley stay longer as they both could benefit from another person's company. The screenplay ends with Riley appearing guilty as she looks at her bag, implying she may steal from Ember despite Ember's kindness.
The proposed lower school radio and TV advertisements would feature a Year 7 student from Ringwood School discussing their experiences. For the TV ad, the student would talk about the school's subjects, opportunities, and student support over footage showing a bright, sunny school environment. The radio ad would also include the student using more advanced vocabulary to discuss opportunities, portraying the school's focus on preparing students. Both ads aim to provide an authentic student perspective to appeal to parents and demonstrate the school's focus on learning, development and future success.
03. unit 1 student guidebook and checklistIsabellaBown
This document provides information and tasks for learners to complete an assignment on analysing media products and audiences. It includes:
- A scenario where learners will produce an online educational resource on the film industry focusing on Disney and Star Wars: The Force Awakens.
- 5 tasks involving researching Disney Studios as a case study, analysing the trailer for The Force Awakens, profiling the target audience, creating a timeline of the production/distribution/advertising process, and exploring the legal/ethical issues and impact/representation of the film.
- Guidance on formatting, sources, and level of analysis required for each task. Learners will design webpages for the educational resource and complete
The document outlines several codes of conduct and rules that must be followed when using a child actor or including children in advertisements. It discusses:
- Legal work hour limits and licensing requirements for child actors
- Obtaining permission from any children featured
- Avoiding slander, copyrighted content, offensive language, and violence
- Ensuring advertisements do not mislead or exploit children's vulnerabilities
- Not directly exhorting children to purchase products
- Clearly identifying advertising content from program content
- Respecting children's welfare, dignity, and avoiding unnecessary distress
- Obtaining parental permission if featuring children
The document contains information about creating a radio advertisement for Ringwood School, including:
1) Four potential music tracks for the ad with analyses of their suitability.
2) Details on two potential recording studio locations, including their costs and risks.
3) A production schedule and consideration of codes of conduct when using a child actor or voice.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Training: ISO/IEC 27001 Information Security Management System - EN | PECB
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Article: https://pecb.com/article
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A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
How to Setup Warehouse & Location in Odoo 17 Inventory
Shooting script
1. Shot no. (to
correlate
with script)
Shot type Description Shot
duration
1 ECU ECU of Ember’sshoe lace as she doesit upwith
loudsoundeffectof the lace beingdone up.
Startingthe Edgar Wrightstyle montage.
1 sec
2 ECU Focusingonleadinthe dog’scupboardwitha
knife outof focushidinginthe cupboardto hint
towardsthe zombie apocalypse.
1 sec
3 ECU Centreddog’sharnesshoopwhichdoesn’tmove
as leadisconnected.
1 sec
4 ECU Shotof upperbody(fromwaistto shoulders).
Emberadjustsbag straps bypullingthe straps
downintime withan exaggeratedsoundeffect.
1 sec
5 ECU frombird’s
eye
Shotstarts before draw isopenbut ispositioned
to have knife centredinshotonce the cupboardis
openedandthenclosed.OnlyEmbershandis
seeninthis,nobodyor feetcaughtinshot.
1 sec
6 ECU Focuson belthook where the knife willbe placed
withan exaggeratedsoundeffect.
1 sec
7 ECU Door lockon righthand side of the screenas the
keycomesinfrom the leftstraightintothe lock.
1 sec
8 LS Emberis centre as she leavesherhouse and
beginstowalktowardsthe camera to the right.
1 sec
9 WS Trackingshot withEmbercentre as she walksher
dog downthe road.
10 secs
10 MS CentringEmber’s reactionto seeingathingacross
the road from her.Andmovesbackwardsasshe
continueswalkingforward(towardscamera).
5 secs
11 MS Shotof the “person’s”backwho doesnotyet
appearto be a zombie.
3 secs
12 CU PanningdownfromEmber’sface to herfoot
where she treadsona stick.
3 secs
13 MS Reveal of the zombie asitturns aroundand faces
inthe directionof Ember.
3 secs
14 ECU The zombie hasseenEmberand lockedeyeson
her.
2 secs
15 ECU Ember’sreactiontobeingseen. 2 secs
16 LS Zombie runningtowardsEmber. 2 secs
17 CU Embergrabbingknife frombelt 2 secs
18 LS Emberis stoodon the leftwithknife inhand and
zombie isrunninginfromthe righttowards
Ember.Whenhe reachesher Emberstabshim a
carrieson walking.
5 secs
Scene 1
=45 secs
19 CU Emberopeningdogfoodbox and scoopingout
dog foodwitha cup. StartinganotherEdgar
Wrightmontage.
4 secs
20 CU Dog foodbeingpouredintobowl anddogeating
fromit.
4 secs
2. 21 CU Cupboardbeingopenedtoreveal nocansof food.
EndingEdgar Wright style montage
anticlimactically.
3 secs
22 MCU Camerapans fromEmber’sface to her stomachas
it rumbles.Whenthere isaknockat the doorthe
camera pansback up to herface forthe reaction
where she looksather knife onthe counter.
6 secs
23 CU Knife onthe counterto show whatEmber is
lookingat.
3 secs
24 MS TrackingEmber as she goesto grab herknife and
walkstowardsthe door.As the door opensit
focusesonwhere Rileyisstood.
6 secs
25 MS CentringEmbershowingherreactiontoRiley.
Keepingknife inshot.
2 secs
26 MS AlsocentringRileyinsame style of shot25. 6 secs
27 MS (same as shot25) CentringEmbershowingher
reactionto Riley.Keepingknifeinshot.
2 secs
28 MS (same as 26) AlsocentringRileyinsame style of
shot25. Showinghergoingintoherbag.
2 secs
29 MS (same as shot25) CentringEmbershowingher
reactionto Riley.Adjustingknife puttingitcloser
to the camera as if towardsRiley.
2 secs
30 MS (same as 26) AlsocentringRileyinsame style of
shot25. Rileypullsouta tinof beans.
4 secs
31 CU CentringEmbereyesasshe islookinginthe
directionof the beans.
2 secs
32 CU Showingjustthe beansinRiley’shandtoshow
whatEmber islookingat.
2 secs
33 CU Startinganothermontage style of shots.First
showsthe beansbeingopenwithexaggerated
soundeffects.
2 secs
34 CU The beansare thenfocusedonas theyare poured
intoa pot (centringthe fallingbeanswiththe pot
at the bottomof the shot) withexaggerated
soundeffects.
2 secs
35 CU Shotfrom above showingthe beansbubblingin
the pot) withexaggeratedsoundeffects.
2 secs
36 CU Beansare pouredintoa bowl centringthe falling
beanswiththe bowl at the bottomof the shot)
withexaggeratedsoundeffects.
2 secs
37 CU From above shot,bowl getsplacedonthe table)
withexaggeratedsoundeffectsendingthe
montage.
2 secs
38 LS SymmetricallycapturesRileyandEmbersitting
opposite eachatthe table.A small amountof
negative space atthe top and sidestoavoidthe
shotfeelingcrowded.
4 secs
39 MS Camerais now infront of Ember,centringheras
she staresin Riley’sdirections.
3 secs
40 MS Same shot as 39 butwithRileyinthe centre. 6 secs
3. 41 MS Emberis centredin same shotas 39. Tracks Ember
as she slowlygetsupbutkeepseye contactwith
Riley.
6 secs
42 MS Rileyiscentredinshot. 3 secs
43 MS Emberstill centredgetsupproperlyandmoves
intokitchen,cameratracts Ember’swithsmallest
amountof movementpossible.
3 secs
44 MS Rileyiscentredinshot,hereyesare tracking
Ember’smovementsothe audience knowswhatis
goingon andgets a more seriousmomentrather
than a quickpace montage.
6 secs
45 LS Same as 38, howeverEmbercrossesinvisible line
betweenthe characterstoplace wateron the
table andsitsback down.
6 secs
46 MS Rileyiscentred asshe beingstoeat andtalks 4 secs
47 MS Emberis centredinshotas she watchesRileyeat,
she speaks,andthenshe eat herbeans.
4 secs
48 MS The side of Riley’sface iscentredof the shotsince
it hasmoved90o
to the leftfromwhere itusedto
focuson herto implya conversationstarting.
3 secs
49 MS The side of Ember’sface iscentredof the shot
since ithas move 90o
to the rightfrom where it
usedto focuson herto show Emberis willingto
have the conversation.
2 secs
50 MS Both charactersheadsare inthisshot that istaken
by theirssides.Riley’sheadisonthe leftside and
Ember’sheadison the right side,theyare facing
each other.
5 secs
51 MS JustwithRileycentredasshe talkslookingat
Ember.
5 secs
52 MS Emberis centredwiththe camerainfront of her
to gether full reactioninshot.The camera isplace
inthe centre betweenthe twocharactersandwill
turn to face the one speaking.Itwill stoponRiley
whenshe isplanningwhattosay nextand
eventuallythe shotwill endonEmberasshe
staresa Riley.
10 secs
53 MS (Same as 51) Both characters headsare in this
shotthat is takenbytheirssides.Riley’sheadison
the leftside andEmber’sheadison the rightside,
theyare facingeachother.
4 secs
54 MS Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
4 secs
55 MS Cameranow onlycentringRiley’sheadasshe
reacts to whatEmberis saying.
5 secs
56 MS (Same as 51) Both characters headsare in this
shotthat is takenbytheirs sides.Riley’sheadison
the leftside andEmber’sheadison the rightside,
theyare facingeachother.
8 secs
57 MS Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
10 secs
4. 58 MS Cameranow onlycentresEmber’sheadfromthe
side as reactsto Rileyandthenspeaks.
4 secs
59 MS Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
8 secs
60 MS Cameranow onlycentresEmber’sheadfromthe
side as reactsto Riley.
4 secs
61 MS Cameranow onlycentresRiley’sheadfrom the
side as she speaks.
4 secs
62 MS Both charactersheadsare inthisshot that istaken
by theirssides.Riley’sheadisonthe leftside and
Ember’sheadison the right side,theyare facing
each other.
15 secs
63 MS Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
2 secs
64 MS Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
2 secs
65 MS Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
3 secs
66 MS Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
2 secs
67 MS Emberis centredwiththe camerainfront of her,
as she speaksitgetsclose and closerto her until
it’sina Close UpShot.
4 secs
68 MS Cameranow onlycentresRiley’s headfromthe
side as she listens.
3 secs
69 MS Emberis centredwiththe camerainfront of her,
as she speaksitgetsclose and closerto heruntil
it’sina Close UpShot.
10 secs
70 MS Cameranow onlycentresRiley’sheadfromthe
side as she reacts to Ember smiling.
5 secs
71 MS Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
5 secs
72 MS Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
5 secs
73 MS Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
5 secs
74 MS Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
5 secs
75 MS Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
5 secs
76 MS Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
10 secs
77 MS Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
5 secs
78 MS Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
5 secs
79 MS Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
3 secs
80 MS Both charactersheadsare inthisshot that istaken
by theirssides.Riley’sheadisonthe leftside and
5 secs
5. Ember’sheadison the right side,theyare facing
each other.
81 MS Emberis centredwiththe camerainfront of her
to gether full reactionin shot.The camera isplace
inthe centre betweenthe twocharactersandwill
start on Emberand move to Riley.Andcontinueto
move back andforth duringthe conversation.
3 secs
82 MS Cameranow onlycentresRiley’sheadfromthe
side as she staresback at Ember.
3 secs
83 MS Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
3 secs
84 MS Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
3 secs
85 MS Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
3 secs
86 MS Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
3 secs
87 CU Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
3 secs
88 CU Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
3 secs
89 CU Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
3 secs
90 CU Both charactersheadsare inthisshot that istaken
by theirssides.Riley’sheadisonthe leftside and
Ember’sheadison the right side,theyare facing
each other.
10 secs
91 CU Cameranow onlycentresRiley’sheadfromthe
side as she speaks.
8 secs
92 CU Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
3 secs
93 CU Camerastill at the side of Riley,howeverRileyhas
turnedherbodyto towardsthe camera.
3 secs
94 CU Cameranow onlycentresEmber’sheadfromthe
side as she speaks.
4 secs
95 CU Both charactersheadsare inthisshot that istaken
by theirssides.Riley’sheadisonthe leftside and
Ember’sheadison the right side,theyare facing
each other.Rileyturnsfromfacingthe camerato
facingEmber.
5 secs
96 LS Camerais at the back of the room.Ember and
Rileyenterthroughthe dooronthe leftleaving
negative space inthe right.
15 secs
97 LS Rileyislyingdowninbed, horizontal tothe
camera incentre of shot.
8 secs
98 MS She sitsup and the camera iswhere herface will
be once fullyup.Beginningof anotherEdgar
Wrightstyledmontage.
2 secs
99 CU Similartoshot1, Rileytieshershoesinthe centre
of the shot.
2 secs
6. 100 CU Shothas top of shouldertomidwaistas Rileyputs
on a jacket.
2 secs
101 CU Back of Emberputtingonthe rucksack. 2 secs
102 MS Door frombedroomsare centredas Rileywalks
out.
2 secs
103 CU Similartoshot7: Door lockon righthand side of
the screenas the keycomesin fromthe leftand
stopsrightbefore the lock.
5 secs
104 MS Door frombedroomsare centredas Emberwalks
out.
7 secs
105 MS Rileyissatat the table centredinthe shotas she
looksat Ember.
5 secs