Design Workshop Journal Part c
Reece Cutajar 1
Content Page
Contents page
C1 Lecture - design ideas C2 Lecture - evaluating and selecting C3 Lecture - selling ideas “The Way He Saw It” - Michelangelo Antonioni’’s Cinematography and Blocking BLOW-UP (Michelangelo Antonioni, 1966.) Tenis silencioso What Is Neorealism? Cuts & Transitions 101 The Art of Close-Ups with Edgar Wright Test Cutting a scene Behind the scenes filming Acca Storyboard cover StoryBoard
4-5 6-7 8-9 10-13 14-15 16-17 18-19 20 21 22-23 24-25 26-187
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C1 Lecture: Design ideas Week 8
Overall Strategic matters Key determinants of design outcomes Designers frame of reference Scales of consideration
Key determinants of design outcomes Designers frame of reference A grid of possible approaches / foci / starting points / emphases Scales of consideration One way to develop a design idea is to deal with additional scales Developing design ideas Tactics Scamper Bob eberle modification of Osborn's evaluation checklist Substitute something. Combine it with something else Adapt something to it
Modify or magnify it Put it to some other use Eliminate something Reverse or rearrange it Classes of strategy for developing design ideas Cloning design idea- take idea and do it over and over Decomposing design idea Forms of counterbalance Elaborating and embellishing Grafting Sequential enrichment/ unfolding
Tschumi sequences S - space - Spatial sequence- room after room - structural E - events - Programmatic sequences - episode after episode - influential M - movement - Transformational sequences - frame after frame - can be procedural B.M.E Beginning middle and end
Cloning Repetition Sets Series Variations on a theme Other multiplications Decomposing The root ideas, increasing complexity Hierarchic decomposition, shape construction Fracturing Freactals Forms of counterbalance Dialectic or opposition Suites (recognizing or developing the ideas as part of a set of complementary Scores + counterpoint (= musical composition Narrative
Tschumi sequences S - space - Spatial sequence- room after room - structural E - events - Programmatic sequences - episode after episode - influential M - movement - Transformational sequences - frame after frame - can be procedural 4
Using scores from movies to create a design. Example of dramatic equivalence in design Narrative / real metaphor
Elaborating & embellishing Using developing of the root ideas Building on hints in the ideas (intellectual doodling) Mutating an idea Morphing the idea ( = continuous rather than stepwise mutation
Andrew Simpson Centre for etymology (study of language) Melbourne, 1998 Simultaneous mapping of several systems Features of site & locate > structural and conceptual tissue Feature of program > locate program, scale Features of source ideas >texture, shape
Simone brott Folding & the new freedom: six museums on human movement Theme exploration of the surface of bodies in motion Overall image is a hand rolling dice down a slope Each museum form derives from a double folded human body Displays cases derived from various painting equated to site, vertically extruded
Crafting +multiple ideas Adding quite different ideas to the Sequential enrichment root idea Unfolding an idea Step wise , higher resolution
Books in this issue: 1998: landscape narratives 2009: architecture and narrative 2012: narrative architecture, Nigel Coates 2015: architectures pretext
Reflection:
this lecture looked at different ways at coming up with design ideas, along with some examples of past students work. The vast amounts of ideas that can be though of through simple processes, taking one idea and manipulate it using arraying,reverse or rearranging it etc. This ideas we get from inspiration can be manipulated by using these tools to create something new or something that fits. This lecture had some unique showings, compared to the been creative lectures. The examples of past students industry work, is the most interesting looking at how they are using the techniques we are developing today, in there current work. The lecture has some areas that feel repetitive with past lecture but had some unique aspects with idea manipulation that is was a interesting watch. This is something i can look over while i developing future school and work projects.
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C2 Lecture: Evaluating and selecting Week 9 Information flow in designing Starting with design ideas you will be able to get out of your design
Types of assessment
Evaluation / decision analysis methods Examples: Checklist Performance specifications SWOT Analysis De bonos Six thinking hats Post occupancy elevation Delphi method Trade off games Decision matrices Computer supported decision system
Bases of choice
Between known alternative Let the market decide Arbitrary procedure Compare with accepted canon Develop universally valid set criteria Develop criteria based on the differences between items to be compared Judge architecture work against its own intentions
Delphi method
Can be either a forecasting or a decision making An iterative method for coming to a consensus decisions on very difficult issues Time taken depends on group size and contentiousness of the issue’s Groups own the decision Group size small for forecasting, as large as necessary or possible Trade off games Can be within a group between group or carried out by individuals Need a system of tokens - indicating options between choices Need a basis for comparative value of options or of variables against which opinion
After the work
Consequences , impact, derivatives Reception, by client Production The critical situation Self criticism Analysis Design thinking Client Lay criticism The man in the street
Expert criticism Peers Critics, historians Consultants Authorities
Criticism
Attoes model Normative criticism- doctrinal, ideological Interpretative criticism - advocatory (support) - surrogate experience Descriptive criticism
The critics intent
Describe Provide surrogate experience Point to antecedence: scores, allusions, alternatives Explain - through doctrine, theory/ system, standards Advocate Provide a new work of art
Critics focus
Focus on the work of itself Ecological , geographical context Historical, history of ideas, genealogy Socio-political (hidden figures), economic Legislative context Biography of the author The client, the task, the brief Repeat view of current disciplinary interests (whats going on now) On the work itself The design process Form Subject matter, reference, tone of voice Presentation 6 thinking hats A series of roles that gets rotated
Reflection:
This lecture looked at how we as students are marked and evaluated with some example of other evaluating used in the workplace. This lecture looked at the type of ways we are evaluated, the vast range of evaluations that can be used to critique your work and how it can be used in any field. A lot of the student evaluation was predictable and most of it is shown on rubrics. The vast range of evaluating techniques is overall interesting to think about when you are submitting work for reviews. I find how critics intent and focus the most interesting with the type of critics there are reviewing movies, art, etc. I feel like this lecture dragged out a bit trying to explain everything when the most impotent evaluation i as a student want to know is how i get evaluated overall i will look over these notes if i want to see how i will be criticism.
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Exercise 1:
Take 5 minutes and write down how you think your designs are assessed: They are assessed based on the categories we need to hit. 1 presentation- layout, 2 design- does it comply with the brief, clearness of the concept, 3 vocal presentation, speech,
Students
Communications - (drawings, models, diagrams, reports, speaking & fielding questions Against stdio expectations (did they play the studio game) That this is often a social rather than a pedagogical question and capability Against themselves (stretching their capabilities, improving in subtlety or depths of understanding. Design skills or coping with greater complexity Self assessment (of achievements and limitations of their projects - particularly importing in grad school.
Authority based assessment
Achieving learning objectives of the subject Accepted standards School expectations Developing degree graduate attributes University graduate attributes Minimum standards for degrees Standards for professional entry Key indicators to assess student outcomes in studio, 2009 Curriculum development in studio teaching Studio project assessment Dimensions of assessment Product People Process Differences of emphasis Detailed dimensions of assessment For example Concept resolution Presentation Engagement Hard skills Soft skills Magic - product - process - person Architecture , art, design Principles for application of the indicators
Assessing student designs
Criteria Project based Authority based (indirectly student based) Directly student- based (it you not the project) Studio design Scale (ranging from jewelry piece to coastal park) Programmatic complexity Range of issues addressed. Function , aesthetics, cultural history Range of scales addressed. From master planning to detailing Intellectual ambition (from pragmatics to cultural philosophy
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C3 Lecture: Selling Ideas week 10
1. Narrative a form of storytelling
Think about your voice as a Highlighter What do you want to draw attention to?
...To guide your image + techniques selection, your layout of pages and verbal communication 1 traditional - focus on the design result (and the process) 2 narrative- explain your design ideas and their successful realisation (not all of the things you did but the key elements that support you design)
Stop and reflect.
What ideas are represented in your scheme. Get all drawing work and look at what you are doing. Narrative: a form of storytelling Know the big idea Layout reflect the predetermined storytelling Communicate design concept and discloses information in a logical sequence Narrative shares insight into the creative process that the audience may not detect in the design solution Structuring the narrative Think of the topics exploring in studio The response Clients Designer The context Strategies for you: Massing Skin/ material Atmosphere/ experience Structure Program/ function/ brief - interpretation Flows / circulation - views, sound, light
Questions to inform your narrative Think of logical question of the view Where does the idea come from What influences were used Drawings to include The big idea Concept (vision) Context (why) Agendas (clients/ yours/ audience) The design Plans Sections Renderings in context Model Then you focus on the why Extra Diagrams about how your design is to be used
3.using precedent
… And research to support your outcomes
5. The observer
Eye detects movement + change
Seeks greatest visual interest Intensity- location, size, tone, scale, proximity Message area Message area coincide with casual interest
Illustrates the composition of innovation Look at built local and international examples’ Observe around you
4. Three - 3 - levels of communication How best to present your design
Visual scanning Three levels of communication First - overall impression Main image on page Secondary detail to support your idea (both written + graphic) Focus drawings Single glance graphi Or switch focus graphic
2. Knowing your insights and concepts
… And using your graphics to illustrate Conceptual drawings Using diagrams advances the process of an idea Complex ideas need to be made explicit The requires a language of abstraction What is the big idea … That this design is testing
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6. Presentation techniques
Explore your options, expand your skill
Focus, section with context, clarity, modeling, materials, renders Purpose of a diagrams … Clarity of big ideas Summarize ideas A few analytical diagrams.. Opportunities and threats Existing conditions of site Factual supporting research Reasons to act Important things to the site Juxtapose Text - explanation Diagrams of idea Actual plan of outcome Before and after Location of site A few examples of professional graphics Other graphics telling story
7. Laying out the page
What is your first impression
What is the focus What are your big idea Mock up layout Think of space between drawings General Sections look best at the bottom of page Elevations look best stacked No big Titles keep it simple Bar scales , sections and plans
8. Talking to your pages or slides
Focus on things that can not be visually scanned by audience Set the scene Focus on the relationship between Use your voice and gesture to highlight Engage your audience (face them) Sound passionate about your project Don’t start with an apology or highlighting a problem
Do a test print before the final … Clarity of communication Think of space between drawings General Sections look best at the bottom of page Elevations look best stacked No big Titles keep it simple Bar scales , sections and plans
Book References : - Tom porter, selling architecture ideas - How designers think, the design process demystified - Archi speak - What designers know - Why architects still draw - 101 things i learned in architecture school
Do a test print before the final … Clarity of communication
Reflection: This lecture looked at presentation techniques and the best ways to sell your ideas. This lecture is the most impotent as it related to all my work across every subject. The most impotent areas for me was the layout and public speaking. These areas i feel i have lacked and it was good to have someone explain what we're trying to achieve and what the main focus should be. This included having a hierarchy of images across the page, and also how sections should be used in conjunction with the floor plans. The narrative when presenting is the most impotent when presenting your ideas. For me i struggle to talk in a foreword narrative and stay on target. For past projects i have used precedence layout banners as a template. Thought good back then i didn't understand why these things were scaled and placed in this order. I found this lecture very useful with my earth banner presentation, using this lecture as a guide into what i should show on the banner along with what i should be highlighting. This lecture has been the most valuable for me in the last third of the semester. I can now use this information as a template to setting up my presentation layout.
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“The Way He Saw It” - Michelangelo Antonioni’’s Cinematography and Blocking https://www.youtube.com/watch?v=lcOuAZDPWMw
This video looks at the how Michelongelo Antonioni uses camera movement and framing. ‘‘A director is a man, therefore he has ideas; he is also an artist, therefore he has imagination. Whether they are good or bad, it seems to me that I have an abundance of stories to tell. And the things I see, the things that happen to me, continually renew the supply.’’ Michelongelo Antonioni 1912- 2007 Writer/Director Films: L’Avventura (1960) Blow-Up (1966) La Notte (1961) Zabriskie Point (1970)
Shot Composition
Michelongelo Antonioni uses wide shots to display most intensive moments in his films instead of he close up shots, which are very commonly used today. The use of wide shots for this purposes allows the us to be exposed the reality this character is in as shown below. This woman is feeling alone and surrounded. A closeup shot cannot achieve the reality of what this woman is feeling. By using a wide angle shot we can see with the position main character and use of extras, that is woman appears to be surrounded and feeling down and alone
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Cinematography and Blocking Michelongelo Antonioni uses the full space of the frame by using the images to visual divide the frame into quotients or into two half. This technique keeps our eyes moving around the screen and will also inshore his films have a variety of compositions, story telling and interest. The use of screen space can impact on the visual storytelling you’re trying to create. For example the scale of the person on the screen narrow in or focus the audience into a section of the frame. The division into two half’s is commonly used with horror films where you have the main character hiding behind on one site and the antagonist in the background on the other half. These types of shots can create dramatic tension with the composition clown.
In Jurassic park there are a couple of scenes in a kitchen where the characters are hiding from the dinosaurs. The director Steven Spielberg uses the frame to divide the screen into quotients to create some dramatic tension as a dinosaur is churching for the boy.
If we were to take this shot and create a close up on the boy ,the suspense of been hunted is diminished in this frame, compared to the previous. The context of the larger dinosaurs in a small kitchen creates a lot of tension for the boy and his fate. The use of medium/ long shot keeps our eyes moving on the dinosaurs and the boy, this will ensure that there is interest and dramatic tension is experienced
Film Jurassic Park Director: Steven Spielberg
Reflection
This video looked as some of the camera work done by Michelangelo Antonioni. The video focused on his camera movement and scene composition. This video was very helpful in understanding the impact a position of a camera and the understanding behind why this occurs. Looking at using wide shots to show the emotional inference the character is under is something i haven't seen to much in the movies i have seen, its great to see other methods of composition that can be as effective and not focus on the close up shots. I can definitely use this as reference-in future film making classes
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Camera movement On of the great things about Michelongelo Antonionin directing style is that some of his shots he uses the actors as the frame and minimizes the amount of jump cuts he uses. In the example to the right, Antonioni uses three frames for this scene with out one cut. The frame of this scene is influenced by the position of the actress. This type of filming allows the audience to experience the room as the she dose when she moves around it.
Michelongelo Antonionin dis also know for his static movement shots. These are the shots where the camera stays in one position and the characters are used to move throughout the frame. Antonioin uses this technique to stay in its own moment uninterrupted my edits, this is done with the camera movements, the camera will transition seamlessly into a new frame as along with the characters movement.
Reflection
This video is about camera movement and the main focus of this is the work of Michelongelo Antonioni. The limited editing Antonionin uses in some of his shots allows for the scene to flow more efficiently and also allows the audience to explore the environment with out cuts and change of camera angles. Also the sometimes camera movement can be subtle and still change the frame of the scene as explored above. This is a very interesting video to watch, it shows me more about camera movement and the advantages of using this technique over a sires of cuts. The experience of watching this video is something i can take as a reference into our current filming project and also into other projects that requires camera movement.
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A example of this is the 2014 Oscars winning picture Birdman. The whole film looks like it was one take. This created an effect that you feel like you are transported to that world and also the film become free flowing and unprintable in the way it flows. The seminally transitioning between characters and storyline, allows the audience each shot to be continuously moving and allows the audiences to explore the world these people are in. This is very reminiscent to Antonionin work with camera movement. Where the slightest camera movement allows use to stay in that one moment without edits
Male actor Female actress Camera movement
Floor Plan of scene
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BLOW-UP (Michelangelo Antonioni, 1966.) Tennis silencioso https://www.youtube.com/watch?v=ItDmn40TvuI Blow Up is a film directed by Michelongelo Antonionin. The films about ''A mod London photographer finds something very suspicious in the shots he has taken of a mysterious beauty in a desolate park''.
Philosophy: what is real? In this clip Antonionin looks at a one of the oldest question in philosophy. What is real. This scene show a photographer walking down to a tennis court while a group of mime artists are driving around the tennis court. The scene continues with 2 mime artist playing a game of tennis while the photographer watches on.
Mimes playing a game of tennis Michelongelo Antonionin uses his directing techniques to show in this scene. A photographer watching a group of mines playing tennis. This to me looks like his is watching the deception of these mines and at the end he plays into this deception by following along, by getting the tennis ball.
Photographer asked to get the ball.
What is real. This scene shows us two mimes acting out a game of tennis. The camera movements throughout this scene follow the movement of the 2 mimes playing and also the movement of the ball. Is the game of tennis real for the photographer. The scene shows the photographer distance himself with the group of mimes cheering on from the side. This shows us his separation from the reality that these mimes are in, which is playing game of tennis. The distance of the photographer suggests that he isn't on believe this is a real game they are playing. This scene show that what is real is only what you believe. The photographer saw a game of tennis played by mimes without a ball or racket. He followed the ball movement between the two mimes showing he sees this a been real. Is proven when the ball gets hit over the fence and he is asked to get it. If this game wasn't real would he get the ball? Dose him getting the ball make the game real? The game became real when the photographer followed the fictional balls movement and willingness to get such for said ball. The end of the film shows the photographer fade away. After looking back at the tennis court to where he through the ball back. This ending leaves the audience with some mystery. Is the photographer real?. Where there really mimes playing tennis? And was a real ball he through. This open ended finish to the film allows the views to make his or her opinion on what is real. Real doesn't always have to be something you can feel or quantify. What is real is only what you believe.
Photographer waiting the game unfold
Runs to throw the ball back to the mimes
Reflection:
This video is a scene from the movie Blow-up. Directed by Michelangelo Antonioni. This video shows a photographer walking alone towards a tennis pitch while a group of mimes stop by to mime a game of tennis. This film looks into the philosophy question: what is real. This scene shows the photographer that real is something that is built independently compared to what the world we live in. The philosophy of real is an interesting subject i feel can go on for years, i found it interesting thinking about what is real and what and where we are as a human race. There have been many study that suggest that we could be programed or the reality we live in is one that we created. I found this video interesting for the philosophy aspect and is something i will think and read about in my spare time.
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Are we real?
Is life after death real?
What am i?
Am i dying and reliving my life?
History Conscious Hear
Smell
Sight
Taste Touch
Unconscious
Remember
Evidence
Sencers Response
What is Real Fake
Interact
Experience Documentation
Belief Are we in cyberspace space. Are we pro-
Understand
Am i conscious?
Define: Late Middle English (as a legal term meaning ‘relating to things, especially real property’): from Anglo-Norman French, from late Latin realis, from Latin res ‘thing
Fact
How do we know?
Am i dreaming?
Adjective 1. Actually existing as a thing or occurring in fact; not imagined or supposed.
2.(Of a thing) not imitation or artificial; genuine.
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What Is Neorealism? (Video essay) https://vimeo.com/68514760
What Is Neorealism? Is to ask what is cinema
This video essay looks how a film would look if directed by Vittorio De Sica and produced by David o. selznick
The opening of the film style choices between the two directors. On has a sill image of a train the other has some footage of two people together.
The opening of the film, Sica likes to show shots of the city. While selznick shows us which city and also connects the city with the theme of the movie.
The second shot show the tension of the film with the letter been opened while Sica continues to show the a woman walking in the city street.
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This shot shows the woman walking through and looking at the board. These two shots are the same with both directors.
The biggest difference between the two styles is the what the camera dose after the main character leaves the frame. Sica likes to let the scene play out and have the focus on the people that were surrounded the main character.
Selznick style and most other directors style is to cut the frame short and not let the scene play out. As shown to the left a sica film will continue filming focusing on the young girl in front while a Selznick film would cut as soon as the woman left the screen
Reflection:
The continuation of the shot shows the woman leaving. The difference between the two shots is selznick cuts the film as the woman walk away. While Sica continues the shot with other people filling the void left by the woman
This video looks into an analysis at the same film directed by David o. selznick and Vittorio De Sica. The key point this clip was trying to illustrate was the difference in filming between the two directors. Sica is well known for his ability to let the scene play-out, even after the main character has left the frame. He also likes to show the people walking down hallways and getting aboard trains. This is what is traditionally down with Hollywood directors. I understand the points this video essay is conveying and i agree that a scene should continue and there should be some patience with the scene. The voids left by the woman should be filed, it makes the shot more realistic as this would happen. After watching the video a couple of times i really didn't understand what is Neorealism, until i Google searched it. Then it made more scene. i feel this should be explained better as it detracted from what i was watching. the patience is something i can take on bard from this film as something to think about for our current works
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Cuts & Transitions 101 https://www.youtube.com/watch?v=OAH0MoAv2CI
Switch cut
Editing types: The cut: Transition from one scene to another. Change of angle
Cut on action
Cutting on action: Cut from one shot while in action
Cut away: Cut into an insert shot and back (flash)
Cross cutting: Cutting back and forth locations (tension)
Jump cuts: Cuts within the same shot (common in montages) (adds urgency to the scene
Match cut
Cuts from one shot to a similar shot, either action or composition.(Verbal match cut)
Jump cut
Match cut
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Transitions: Fade in or out: Dissolving to or from a shot. Smash cut: Abduct transition going from intense to quiet and back Iris Open and close to transition to black
Dissolve
Wipe
Wipe: Wipe into the next scene Inviable cut: Cuts are hidden in darkness like Birdman I-cut: Audio cut, audio carry over into the next scene J-cut Audio starts before the next scene started. Create seamless flow and transition Match cut: Mixing and matching cutting
Smash-cut
Reflection:
This video looks at all the different types of cuts and transitions that are commonly used in films today. The list of editing types, this is where two shots are put together to continue the story along. A transition is how the shots are transitions, for example a wipe, used very commonly in the star wars movies its a wipe that take us from one scene to the next. Or the iris, where the frame starts to shrink into black while the scene continues. i found this video very helpful in understanding the different types of edits and transitions that can be applied to films. This will be very useful with out current film we are working on. Though a lot of these edits are not perverseness we can think about using the fade in technique or the iris to transition from outside to in. i also found this video very helpful in its explanation into what each edit is with movie titles most of us have seen. This allowed me to get my head around what each cut looks like when used. It also allowed me to visualize how we could apply this to our film. This information will also be used for future projects that have some editing to do.
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The Art of Close-Ups with Edgar Wright https://www.youtube.com/watch?v=vedJVCvdBgI
Close up examples
Edgar Wright Writer/directer:
-Hot fuzz -Scott Pilgrim vs. the World -Shaun of the Dead -Baby Driver
Scene transitions This video was Edgar Wright talking about how he likes to use close up shots in his films. He also talk about some of the behind the scenes from his movies. Reflection This video is Edgar Wright explaining his reasons for using close up shots in his movies. This video was a montage of his famous close up shots with Edgar Wright commentating in the background. The elements i took from this interview was the comparison between the close up shots of ... compared to Edgar Wright. His reasons for using this as explained in the video is get a scene moving along, for example a person getting off the bus, Edgar would do a close up of the feet walking down the steps and then do a medium to long shot of him walking away. This create more of a faster pace. Which for his types of movies really work (comedy). i really like listening to different directer talk about why they use the techniques and how it adds to there narrative. This is something to look back on if i wanted to create a faster paced or comedic type film.
Scene starts to black out
Then transitions with a close up of a person walking across the screen
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Test Cutting a scene
Start
Duration: 10 sec Edit: Transition: Dissolve
Duration: 5 sec Edit: Transition: Fade out
Duration: 5 sec Edit: Transition: wipe up End
Duration: 5 sec Edit: Transition: wipe to right
Duration: 7 sec Edit: Transition: iris
Reflection This exercise is a test to take some footage and think about how it can be cut. The aim of this exercise was to use the knowledge of th video tutorials on editing to experience how the flow of scenes can change with different transition technique. i found this exercise fun to do. Its harder to do when the a shot transition would be helped with longer walking shots. Though only done with images i took some random shots from our film and see how the transition between each shot can work/ look. Overall they might not be as effective as using the footage. The narrative of walking around ACCA and exploring the context its surrounded by. Overall a good exercise to do. Thinking about the editing and how these shots transition between shots. Efferently something to continue to explore as the film starts to transition into editing.
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Behind the scenes filming
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Reflection:
These are some of the behind the scenes photos of us filming on site. Filming on site had its challengers, with cars been on the premises blocks parts of the building also the weather was one of the biggest distractions, limiting the days we can shoot. The experience was very enjoyable, there are efferently things you pick up along the way. i feel like we could of been more organized with shooting and as a group it would of been more beneficial if we had the time to go on a site visit together to run through protestant shooting location and how we can best use the site to capture our three 3 elements. (Mass, light and texture). i have personally learned a lot about the film making process and how much work goes into setting up a single shot. been the focus camera angle lighting and noise. This is something i can use as experience for another potential filming projects also when doing site visits to explore the site as deep as posable so no stones are left unturned.
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Acca Storyboard
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Story board Reflection: This task was to create a film highlighting the key element of Mass, Shadows and Texture. The storyboard is what we used as a guide to setup the shots and begin filming. There are a few elements that go into the storyboard. the storyboard is made up of components, like a site plan, layer diagram, time sheet, camera settings and a picture of the shot. The experience of creating a story board was enjoyable, but could of been more organized. This organization was a fault on our part with our limited knowledge an time constraints. The value from been thrown into this process was you learn, haven looked back on our process, more efferent ways of achieving the final outcome. For me this was having a group site visit before starting the story board. This would of allowed us to walk through and take lots of pictures, not only a couple of people can get. Overall i thought this is a fun exercise, to explore something different and unique outside of the standard projects we have. This experience i will be able to bring through into my making movies subject, next semester. i have benefited greatly with this knowledge of film and the process of creating a storyboard.
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M.C.U
C.U M.C.U
M.S M.L.S
L.S E.L.S 27
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
Story-
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 How Long
Up Down
North South West East
28
29
30
31
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
Story-
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 How Long
Up Down
North South West East
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33
34
35
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
Story-
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 How Long
Up Down
North South West East
36
37
38
39
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
Story-
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 How Long
Up Down
North South West East
40
41
42
43
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
Story-
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 How Long
Up Down
North South West East
44
45
46
47
48
M.C.U
C.U M.C.U
M.S M.L.S
L.S E.L.S 49
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
Story-
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 How Long
Up Down
North South West East
50
51
52
53
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
Story-
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 How Long
Up Down
North South West East
54
55
56
57
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
Story-
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 How Long
Up Down
North South West East
58
59
60
61
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
Story-
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 How Long
Up Down
North South West East
62
63
64
65
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
Story-
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 How Long
Up Down
North South West East
66
67
68
69
70
M.C.U
C.U M.C.U
M.S M.L.S
L.S E.L.S 71
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
Story-
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 How Long
Up Down
North South West East
72
73
74
75
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
Story-
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 How Long
Up Down
North South West East
76
77
78
79
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
Story-
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 How Long
Up Down
North South West East
80
81
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
Story-
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 How Long
Up Down
North South West East
84
85
86
87
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
Story-
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 How Long
Up Down
North South West East
88
89
90
91
92
M.C.U
C.U M.C.U
M.S M.L.S
L.S E.L.S 93
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
Story-
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 How Long
Up Down
North South West East
94
95
96
97
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
Story-
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 How Long
Up Down
North South West East
98
99
100
101
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
Story-
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 How Long
Up Down
North South West East
102
103
104
105
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
Story-
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 How Long
Up Down
North South West East
106
107
108
109
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
Story-
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 How Long
Up Down
North South West East
110
111
112
113
114
M.C.U
C.U M.C.U
M.S M.L.S
L.S E.L.S 115
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
Story-
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 How Long
Up Down
North South West East
116
117
118
119
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
Story-
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 How Long
Up Down
North South West East
120
121
122
123
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
Story-
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 How Long
Up Down
North South West East
124
125
126
127
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
Story-
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 How Long
Up Down
North South West East
128
129
130
131
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
Story-
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 How Long
Up Down
North South West East
132
133
134
135
136
M.C.U
C.U M.C.U
M.S M.L.S
L.S E.L.S 137
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
Story-
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 How Long
Up Down
North South West East
138
139
140
141
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
Story-
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 How Long
Up Down
North South West East
142
143
144
145
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
Story-
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 How Long
Up Down
North South West East
146
147
148
149
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
Story-
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 How Long
Up Down
North South West East
150
151
152
153
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
Story-
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 How Long
Up Down
North South West East
154
155
156
157
158
M.C.U
C.U M.C.U
M.S M.L.S
L.S E.L.S 159
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
Story-
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 How Long
Up Down
North South West East
160
161
162
163
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
Story-
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 How Long
Up Down
North South West East
164
165
166
167
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
Story-
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 How Long
Up Down
North South West East
168
169
170
171
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
Story-
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 How Long
Up Down
North South West East
172
173
174
175
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
Story-
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 How Long
Up Down
North South West East
176
177
178
179
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
Story-
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 How Long
Up Down
North South West East
180
181
182
183
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
Story-
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 How Long
Up Down
North South West East
184
185
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
Story-
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 How Long
Up Down
North South West East
186
187