Story Board

During our lesson today me and my group developed upon some ideas that we had previously thought of. Then we put them into a plan so that they are when we were filming we had something to refer back to, in order to check that we didn't miss anything out, because we wouldn't be able to memorise all those ideas and shot types that we wanted to incorporate. So after we had completed the storyboard I scanned the images into the printer and uploaded them onto my memory stick and put them onto the computer

. 

 On this part of the storyboard we have shots one, two, five, six, nine an ten. We have a variety of different shot types that we are considering using when we come to film our trailer.  we have over the shoulder shots, high angle shots, mid shots, trunk shots, point of view shots and a tracking shot. This plan is to ensure that we use a variety of shots. This is the equilibrium to the Todorov's narrative theory.

Here are shots three, four, seven, eight, eleven, and twelve. We again have a variety of shots including a trunk shot, over the shoulder shot, pan shot, point of view shot, and a close up shot. These shots are before the climax starts, this will be the chronological order part to the narrative. This is where the disruption to the Todorov's theory will gradually be hinted at. 

Here we have shots thirteen, fourteen, seventeen, eighteen, twenty-one and twenty-two. Here we have suggested using a point of view shot, long shot, high angle shot, action shot,two shot, and a mid shot. This is where more hints to the narrative of the trailer are shown to the audience. This is still part of the disruption in the Todorov's theory. 

This is shots fifteen, sixteen, nineteen, twenty, twenty-three, and twenty-four. this is where problems start to arise, we are considering not putting this in narrative order. This is the realisation shots of the Todorov's theory. 

Here is the start of the home invasion shots, we have shots twenty-five, twenty-six, twenty-eight, twenty-nine, thirty-two and thirty-three. These are still included in the realisation of the todorov's theory, for these shots we are considering putting them into a montage and not having them in narrative order. 

Here are shots twenty-six, twenty-seven, thirty, thirty-one, thirty-four, and thirty-five. This again is the realisation shots of the Todorov's theory, that we are considering putting in a non chronological order into a montage. 

Here are shots thirty-six, thirty-seven, forty, forty-one, and forty-four. This is still the realisation of the todorov's theory and would be included in the non chronological order of the montage we are considering. 

Here are shots thiry-eight, eighty-nine, forty-two and forty-three. There will be a attempt to restore order in shot forty-two to fit with the Todorov's theory, because we have a detective interviewing one of the characters. 

Here  are a few ideas we came up with
along the way, but we aren't aware
yet of where we want them, so we
wrote them down so we
don't forget them.