Design Workshop Journal

Design Workshop Journal Annelies Crone 836261 1

Table of Contents: Journal A ...pg.4 Journal B ...pg.13 Journal C ...pg.30 StoryBoard ...pg.51

2

3

4

5

6

7

8

9

10

11

12

13

Architecture/Cinema - B1

Ozu Passage Ways This film is effective in its comparison of spaces and unified figure walking, connecting the two frames on a metaphorical level. Music adds to the composition in order to create a sense of movement and anticipation through its pace and tone. Through the composition of film involving sound and camera usage, an experience that is provided for the view to react and respond to. These techniques could be used in the making of our architectural film. For example, in a split frame that juxtaposes a space within the building capturing light differently at certain points of the day. Furthermore it could a split frame could be used to juxtapose the flow of people through a space at given times.

Architects of film

Montage Theory Sergei Eisenstein

“Movie making and film making is no more and no less than articulation of a space” - Peter Greenaway

Generating new meanings by using different fragments; How things can be changed to be read differently. Can be used in the storyboarding process and planning stages. Compile the plans, camera shots and angles, the music and the scene image = clear and logical

“I don’t make a film if I dont find the proper place, the proper building.” - Sir Alfred Hitchcock

Villa Malaparte/ Contempt (Jean-Luc Godard):

This film captures the home located on a rocky coast with integrity as it reflects the architectural significance. Each scene is a unique composition that uses cinamatography to create contrast in scenerary or shots, establish proportion and enhance or diminish colour.

14

15

Architecture/Cinema Example:

Commonalities between Film Architecture (Different in scope, purpose and practice)

Movement

Time

Spatial Architecture

Scale

• Kinesthetic • Journey through spaces • Directly linked with [E]motion/motion - we need to move through spaces to feel it and connect to it • Changing your focal range - can move through a space in a still shot - very effective

Politecnico - Workshop 2

This example of a student made film was an exceptional representation of a cinematic qualities used to document architectural elements. Each shot has been constructed and thoughtfully composed to create depth and intrigue viewers. A journey is established through the use of a human figure that is tracked by the camera movement.

• Duration/Temporality

• Depth/Volume/Masses/Recessed vs Protruded • Middle ground, background, foreground

• Close-up, medium shot, long shot • Sub-human, human, architectural (scale) • Materiality, furniture, buildings • Details, objects, interiors • Hand, body, house • Peripheral Vision

16

17

Architecture/Cinema Chosen Site ACCA Australian Centre for Contemporary

North Elevation

East Elevation

South Elevation

The building for ACCA (Australian Centre for Contemporary Art) was designed by architects Roger Wood and Randal Marsh. It was completed in 2002 and takes the form of a mysterious monolithic structure that contains four adaptable gallery spaces within. The building plays with concepts of solidarity and transparency through its material choices of corten steel juxtaposed with glass.

We chose this site as we believe it is of architectural significance in its composition of form and the spaces within. It offers great potential for creating depth in its documentation through the layers of the building and gallery spaces. As a group we will have to consider our cinematic thinking and how we translate this building into a film of integrity to form.

West Elevation

18

19

20

21

Architecture/Cinema Precedents & Evaluation

The Weeping Meadow - Theo Angelopoulos

In order to make a successful and thoughtful architectural film that documents form, the spaces within it and the way people experience it, a variety of precedents should be studied. By doing so our group will be able to extract ideas and techniques and employ them in our own documentation.

Damnation - Bela Tarr Layer/Frame This precedent is particularly important as it clearly demonstrates layers within a shot as the camera moves. These layers create depth in the scene which is crucial to ensure the shot does not appear flat. By zooming out from the shot of cable cars it is evident a figure is distanced from the structure as the watch on through a window. As a group we could employ this technique of creating layers through the different spaces such as the series of gallery spaces at ACCA.

22

Layer/Frame

Sound

Similar to the opening scene of Damnation, this scene in the Weeping Meadow explicitly creates a series of layers to add depth to a shot. The use of linen on washing lines acts as flexible and mobile walls that define new layers. The wind that blows these surfaces reveal the characters hidden as the camera pans around. Towards the end of the scene, the camera removes itself from the sheets and captures the musicians progressing towards the waters edge. Even still, depth is provided through an over the shoulder shot of the two main characters. This concept of progressing through layers could be manipulated through the sculpture out the front of ACCA

The sound in this scene was particularly interesting as it combines the natural sounds of the surrounding environment overlaid with a music track played by characters in the film. The combination of a waters edge and music ensemble create an atmospheric scene fitted to themes evident in the movie. The sound establishes a climactic point in the scene when the camera shots are lost within the linen to exaggerate the depth of the shot and multiple characters involved. The concept of overlaying naturals sounds of the surrounding environment and a musical track could be employed in our film to demonstrate the artistic significance of ACCA. 23

Design Reflections & Decisions - B2

Landscape in the Mist - Theo Angelopoulos Frame/Progression The cinematography in this scene is particularly fascinating as Angelopoulos utilizes the human figure as a static column-like object to create the sense of depth. This is juxtaposed with the two characters captured to be progressing through the layers. While each of the static figures are positioned to be facing in different directions, they are all transfixed by the light fall of snow. As the shot continues to follow the children making their escape through the statures, the camera pans to reveal multiple more figures. When creating our architectural film of ACCA, our group could employ this notion of progression through layers by including static figures.

The camera scene follows the 180 degree rule to create a seamless transition of characters’ movement from one location to the next. As they run down the street in front of the station to begin with, they exit from the right side of the screen. When re-entering in the next shot the appear from the left side of the screen and then proceed to run down the street. This is a crucial rule we must use in our film making as to ensure the shots fit seamlessly together and do not confuse the viewer on the characters progression through the space.

Design Decision: A design decision is a moment you choose between options. This moment often involves questioning, resolving and selecting.

What Attack Context

Alter thinking

Suspend Judgment

Embrace Complexity

Expand & Search for Concentrate Patterns

Recognise and stop your assumptions Create new perspectives

24

How

Broaden understanding through precedents

Is the process always the same?

Deepen the Themes

Outcome

Sharpen the Frames

Communicate ideas clearly with logic Develop potential/ interplay ideas to create layers

Be Prepared

Create the Moment

Follow Through

Get advice and assert assumptions Support your interpretation to show your journey

Integrate all this into your design

25

Representing my design thinking How do I use my Design Journal?

Record Design thinking words, diagrams, other

Reflect on what you have recorded -

successful/unsuccessful & other options that could have been used

Re-adjust your plan for moving

forward - make adjustments, go back to previous more successful iterations, revisit past projects

Representing my design thinking: in relation to past project Designing Environments Project Strengths/Weaknesses

Pointers for Design Journal - Structure Thoughts: About myself Context as a design Design theories

Models, feelings & physical vs digital

Strength ratings throughout the design process:

Craft & Experimentation

Structure, materiality and What I didn’t do and atmosphere What I tried and would do now What I have tried thought was really successful and did not like

Atmosphere, memory and emotion

How does my approach differ from others in the studio?

I believe this studio project purely reflected how I just followed the rubric outlined to us in order to receive the marks I needed. I thought this restricted and confined my ideas which ultimately lead to my design not properly representing my ideas as an individual. However in saying this, I pushed the limits of the rubric and ideas proposed to us in order to create a unique final design.

What is my design process? Are there similarities in my process from past studios?

As I have only had one design studio it is difficult to compare this design process to others. However, in the subject Changing Melbourne, I followed a similar process that started with conducting an intensive site analysis. This is a crucial point in any design process to ensure that my designs continue to reflect and engage with the site chosen at every point in the process. This is also relevant to architectural film that myself and my group are creating as it is crucial to understand the form of the building and the spaces with in it, in order to create a documentation that reflects its significance as a structure.

Conclusions

Successful Student Examples:

26

27

What To Do When Stuck - B3

Designing Environments Process:

Getting Unstuck:

Types of Blocks:

Take a break

Perceptual

Cannot see the problem or useful information - e.g. Through stereotyping

Changing designer’s frame of reference

Emotional

Fear of risk, unable to tolerate ambiguity, prefer to judge not generate, cannot relax

Change medium of working

Cultural

Taboos: play is for children, emotions are bad/logic is good, tradition seen as better than change

Changing when you work

Environmental

Lack cooperation, trust; autocratic leader, distractions, lack of support for realization

Arbitrary Exercises - something you wouldn’t have undertaken

Intellectual

Inflexibility, inadequate use of approaches, insufficient and/or incorrect information

Expressive

Inappropriate language/more of approach, inadequate language/mode for expressing or recording ideas

Arbitrary time periods - at a time you wouldn’t have undertaken it

What to do When Stuck: in relation to past project

28

29

Developing Design Ideas - C1 Architecture/Cinema Progress Scales of Consideration Perceptual & Experiential SMALL - Individuals

Behavioural, Communicative & Performative

Tactics: SCAMPER

Bob Eberle’s modification of Osborn’s Evaluative Checklist: Substitute something

Combine it with something else Adapt something to it

Classes of Strategy for Developing Design ideas

In this weeks tutorial our group decided to narrow down to three key themes to explore in our film - Texture, Light and Mass.

Cloning: • • • • •

Repetition Sets Series Variations Other Multiplications

Texture

Light

Mass

By using close up shots in our film of the texture we are able to incorporate a dimension of time that shows imperfection in a building as it ages. This will clearly document the building in its form and experience of the human user. Shots showing the interaction of the character in the film touching and feeling the building will explore the tactility of the architectural piece. As ACCA’s facade it made out of corten steel it offers a great texture as it rusts with age.

In Cesar Portela’s essay “Light and Architecture” he states “light allows us to define what is around us.” This statement has shaped our film as in order to document the building justly, the use of light must be defined. The light and absence of light will transform the building’s form, spatial context and create a sensation of enlarging a space - a key theme we also we to explore. The us of shadows created by lack of light depict a visually appealing frame for the viewer to encounter.

ACCA has been described as a monolithic structure that stands alone and can be compared to Uluru. Due to this description we wish to capture the mass of the building through shots that place the building in proportion. For example high angle shots of the building contrasting it against the sky. Seen above is a frame from a long shot that juxtaposes the building against a human figure, in turn developing a sense of scale for the building that shows its overwhelming size.

Decompose: • Hierarchic Decomposition, Fracturing, Fractals

Forms of Counterbalance:

MIDDLE - Groups Modify or magnify it

Put it to some other use Symbolic Eliminate something

• Dialectic or opposition • Suites (recognizing &/or Developing the idea(s) as part of a set of complementary elements) • Scores & Counterpoint ( = musical composition) • Narrative

Elaborate & Embellish

• Building on hints in the ideas (intellectual doodling) • Mutating an idea • Morphing the idea ( = continuous rather than stepwise mutation)

Grafting LARGE - Community / Society

Reverse or rearrange it

• Adding quite different ideas to root ideas • Sequential Enrichment/Unfolding 30

31

Architecture/Cinema Precedents & Evaluation

Architecture/Cinema Precedents & Evaluation

Texture

Light

Japanese Tea House -

In The Mood For Love -

Robert Arnold

Wong Kar-wai

This short film documents a Japanese tree house and its natural surroundings. Close up shots of the surroundings are used to show the textures of the buildings context. The images to the left are frames one just before the other of a close up shot from the film that captures these textures.

The focus is placed on the water and is able to show the reflection of the trees that overhang.

When a pebble is dropped into the shot it creates a ripple in the water that develops this fluidity in its texture. This is contrasted to the solid rock form on either side of the shot. In the same we could incorporate these types of shots but of ACCA to develop the sense of tactility in the building.

32

This film uses the contrast between light and shadow during particular scenes to heighten emotion and change the experience within a space. The still image of a shot on the right shows how backlighting is used to highlight the silhouette of a character. Furthermore, this aids to frame the shot as well as make the space shown appear to be more confined and smaller than actually perceived.

This enhances the mood of the shot allowing an audience to empathies with the feelings of the character. This use of light framing a shot is an effective way to alter the way an audience view a space and could be used in our film to depict the monumental scale of the building.

33

Architecture/Cinema Precedents & Evaluation

Evaluating & Selecting Design Ideas - C2

Mass

Art Architecture & Innovation - Guggenheim Museum

This documentary utilities high angle shots to create a sense of scale of the building. This type of shot makes the building appear far more monumental. The two images to the right and frames of shots from the film that show the mass of the building. By contrasting the building the sky above, the image underneath develops a sense of the building soring over the human scale. In our architectural film of ACCA we could employ these techniques to justly show the mass of the building.

34

Lecture Reflection - Evaluating Ideas: This lecture proved to be very valuable in conveying methods to make final decisions and evaluate designs. One of the methods spoken about was the Delphi Method - “a forecasting or decision making technique.” It aids in coming to a consensus decision on very different issues. It works by grading attributes of various criteria. This method will be very useful when comparing designs in the future. For example looking at Studio Earth we made three models relating to different briefs - point line plane, mass and frame and infill - but graded on the same criteria. This method would be a great way to grade the models and decipher the parts of each model that I could carry into the final design for “something like a pavilion.”

This method can also be likened to the ways in which we are evaluated by our tutors during studios based of the marking criteria (see right). However, as outlined in the lecture the marking criteria are not equally as important. For example, as seen in the image below, each column of criteria has a specific percentage meaning that the overall mark for the project takes into account the importance of different parts over another. This method is also a great way to grade designs as the grading criteria, field of options, scoring and scoring methods can be manipulated for different projects.

35

Lecture Reflection - Selling Ideas: This lecture looked closely at the presentation side of designing and in particular how to sell your ideas. It posed some really valuable questions that I will take into account when presenting a design scheme. Bellow is a reflection on my final presentation for Designing Environments looking at the questions put forward in the lecture.

This studio looked at designing an installation for concrete lawn and presenting that scheme through super imposition. This layout (originally at A0) incorporated superimposition effectively and displayed the drawings appropriate to the design as well perspectives that gave a feel for the space. My design utilized the material concrete and explored our human footprint in climate change. Thus the colour scheme was very monotone with sparks of colour to draw the eye to the important parts of the presentation.

As I was presenting to an architect as well as my tutor I had to prepare my 10min presentation so that I was clear in what I was speaking about as the architect had not seen my work throughout the whole semester.

Before the final presentation I test printed this poster three times Pinterest more to explore new ways of presenting a design to a to ensure the best possible print was made. client. Pinterest offers a variety of ways to display a work that in the future I will aim to test.

In terms of making this presentation better, I would use

Architecture/Cinema Precedents & Evaluation Composing Movement -

Akira Kurosawa In this analysis of films, Kurosawa examines how movement creates interest in a shot. He speaks closely about the relationship between movement in the background of a shot particularly using the natural elements - water, air, fire, water and snow.

Background Fire Composition

Background Water Composition

I was very pleased with this overall composition as it was a stand out in front of the rest of the class. By going to every tutorial I was able to see what others were doing and bounce ideas off them. I wanted my poster to create an overwhelming first impression which was done through the superimposition layout.

36

Background Snow Composition

37

Design Communication - C3

Planning an Architectural Film

Lecture Reflection - Mastering Your Design Process: This lecture followed a very clear format that depicted ways to communicate different parts of the design process, and furthermore choosing the right presentation method for each. It first looks at the importance of video/cinematography in the design process and how that explores space and experience. This can be related clearly to my current design workshop project of creating an architectural film. When documenting the building’s qualities we looked closely texture, light and mass. The image to the right is a frame from a shot that looks deeply at the human experience interacting with the texture of the building.

An outline of the camera movement is effectively shown in plan view.

This allows a director to decide on the most appropriate camera vantage points and how to get there accordingly. For our architectural film we will use a copy of the ACCA plan and spatial layout to decide our camera movement before filming.

The lecture continues to look closely at physical models and how elements of the examples were replicated to make a wall screen for a building design. In terms of my projects, the physical models I have made have been used to extract key themes from to create the final design. They further to discuss the importance of photography in order to explore the materiality, mood and light qualities from a model. The images to left depict a model shown through photography that captures the mood of the model .

Designing Environments also asked us to create a narrative to layout a concept for our final design. In this way it relates to the lecture as it made us think about a sequence of events that determined and centered our design.

My narrative looked at pollution and consequently climate change that in turn shaped my design in create a very robust installation for concrete lawn that represented the impact of the industrial revolution. The idea of creaing a narrative to shape your design has proved to be an effective way of setting out a clear concept to be developed.

38

This diagram clearly conveys the layers within a shot as the camera pans. By disassembling the layers in a diagrammatic form, the director is able so show how depth is created within the scene. This would be a good technique to use in our film making to ensure each shot is unique and captivating for a viewer.

By sequencing all the different types of optic, screen/ spacing, and camera/movement, it becomes very clear to the director before filming what is required to be shot and how. Our group will follow one of these structures alongside a story board to ensure every shot is effectively prepared.

39

Proposed Timeline

Creating an Architectural Film - Reflections Original Story Boarding

WEEK 6

WEEK 7

BREAK

WEEK 8

WEEK 9

WEEK 10

WEEK 11

WEEK 12

Choose site/ Get approval Research site Site visits Storyboard Establish shots for storyboard Film Edit

Reflection: This timeline proved to be very unrealistic. The film making process was far more time consuming than we had originally expected which made it difficult to balance out with study for other subjects.

The filming process was extended into the SWOTVAC period (week 13) meaning the editing tasks will be pushed forward to week 14 the first week of exams. Additionally, the storyboarding process was an ongoing one as we kept coming back to our ideas and altering them to make them better.

40

Reflection: This method of creating a story board hand drawn was a great starting point for our group to visualize our ideas and give them a sequence of events. However the hand drawn aspect made it very difficult to collaborate effectively and swap or change ideas. By transferring our ideas onto a digital copy it became much clearer to be read by an outside source and allowed us to work collectively or individually on a group document that was shared through Google drive.

41

Layering Shots/Creating Depth Reflection: This still shot opens the film and creates a strong sense of depth in the surroundings of ACCA. Further more the layers are juxtaposed clearly between each other. The natural environment in the foreground is contrasted against city scape in the mid ground.

Finally the shot is balanced out wit a blank canvas of a background as the weather proved to be an overcast day providing a single colour.

Reflection: Similar the second shot examined on the page before this shot utilitizes the sculpture to create depth. However, in this shot it is purposefully placed to cut through the image in the mid and back ground. ACCA’s sense of mass and immense scale is also portrayed in this shot by placing a figure in the mid ground to add proportion.

Reflection: This camera vantage point uses just two layers to create interest in the shot. The colour sculpture in the foreground is mimicked in the background where a figure is placed to establish a silhouette in the shadow. By placing the figure here it aids the shot in creating depth.

Reflection: This interior shot uses the building to frame different layers to enhance depth in the film. Furthermore a dimension of light is incorporated to further establish each layer. The foreground is a main entrance in the gallery space that kept in darkness to highlight the gallery spaces layer behind. Additionally, the character is used to show depth in this show by walking through the spaces.

42

43

Weather

Choice of Shots Cut Shots:

Reflection: An issue with out film is the consistency of the weather throughout.

Due to our filming times occurring over the change in season some shots depict trees full of leaves and other depict trees once all the leaves have fallen (see above images). With a time restriction in mind we will not have a chance to redo shots to make it more consistent. If we had been more proactive with our schedule of shoots this error could have been avoided.

Architectural

Human

Sub Human

Sub Human

Architectural

Sub Human

Reflection: The use of cut shots within the film are audience-engaging cinematographic techniques. In particular the use of cut shots between the character spinning on the merry-go-round and a still shot of buildings in the distance suggests the subject matter that the character might be observing.

Additionally it contrasts the fast paced movement of spinning and stillness of static buildings on the skyline.

44

45

Choice of Shots

Choice of Shots

Architectural Shots:

Sub-human Shots:

Reflection: As our film aims to document a building significant in its architectural sense through form, spatial layout etc, we use long shots (commonly known as architectural shots) to provide a sense of the context around and within the building. These shots also provide a sense of the large scale of the building and spaces within.

46

Reflection: The use of our subhuman shots (also known as close up shots) is to develop a sense of the buildings texture throughout the film - a key theme explored in the film. By using different scales of shots within the film it provides more visual interest for the audience and thus further to convey an experience of the building itself.

47

Experimentation Stages

Appropriate End to the Film Option 1

Original Idea

Experiment Alternative

Option 2 Our original idea to begin the film was to capture the character walking in from a distance. However this quickly proved to be a very basic and bland approach. In our next visit we experiment with the movement of the character when walking - one experiment involved them balancing on the edge of the grass. Regardless, this approach was not working and forced us to be more experimental in our appraoch.

Reflection: The option to end the film with the character closing their eyes was a great idea initially. However, upon reflection it appeared to be rather cliche and wasn’t overly visually stimulating for the audience.

On a separate shooting day the character was captured spinning on the merry-go-round in the nearby park. This was a much more creative approach to filming and involved intuition from each of the group members. These shots taken will now be used for the start of the film contrasted against still shots of the surrounding context.

Reflection: This second option of using cut shots progressively zooming further and further into the character walking away from the building was a much more visually interesting end that presented a sense of closure and departure from the building itself.

48

49

Storyboard

50

51

Shots 1 - 5

Time Scale of Shots M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S

52

53

Optic

1

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

54

55

Optic

2

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

56

57

Optic

3

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

58

59

Optic

4

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

60

61

Optic

5

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

62

63

Shots 6 - 10

Time Scale of Shots M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S

64

65

Optic

6

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

66

67

Optic

7

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

68

69

Optic

8

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

70

71

Optic

9

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

72

73

Optic

10

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

74

75

Shots 11 - 15

Time Scale of Shots M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S

76

77

Optic

11

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

78

79

Optic

12

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

80

81

Optic

13

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

82

83

Optic

14

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

84

85

Optic

15

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

86

87

Shots 16 - 20

Time Scale of Shots M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S

88

89

Optic

16

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

90

91

Optic

17

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

92

93

Optic

18

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

94

95

Optic

19

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

96

97

Optic

20

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

98

99

Shots 21 - 25

Time Scale of Shots M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S

100

101

Optic

21

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

102

103

Optic

22

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

104

105

Optic

23

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

106

107

Optic

24

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

108

109

Optic

25

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

110

111

Shots 26 - 30

Time Scale of Shots M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S

112

113

Optic

26

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

114

115

Optic

27

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

116

117

Optic

28

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

118

119

Optic

29

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

120

121

Optic

30

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

122

123

Time Scale of Shots

Shots 31 - 37

M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S

124

125

Optic

31

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

126

127

Optic

32

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

128

129

Optic

33

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

130

131

Optic

34

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

132

133

Optic

35

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

134

135

Optic

36

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

136

137

Optic

37

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

Distorted

VP in Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Camera/Movement

Storyboard

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

How Long

Crane-shot

Up Down Diagonal

How Long

Drone/Heli Shot

Up Down

North South West East

How Long

138

139