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PLANNING YOUR (OPENING) SEQUENCE

      Please describe or explain the following:

         1. The action: identify the event your idea is based around; whatactually
            happens (discovery of a body, an illicit meeting, a witness seeing a crime
            being committed, a criminal act taking place, a telephone call, a chase, a
            short journey etc)?
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         3. The narrative: how is it structured - classic narrative pattern or break with
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B. The editing: edited as a continuous sequence, use of cross cutting, use of
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9. Has your idea been   'tested'against the key criteria (the   B questions)?
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instruments(line by Iine)
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Film production book
 

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  • 1. .oo-dfuotc -dc'ffi: itruStr" Car.,il5 3."d:iHP:;"* dsf ",tq *r*/ e"qFh = 2enin cks o.nd 33 ftrdt ,ch, Gsu"""*) GROUP BRAINSTORM oco.Uvs,", = f66ests8 INITIAL RESPONSES TO BRIEF - e"F ta O'est St.rlk sf,ob :rrrhe6[q] lq IDEAS FOR..... - s'etrkn gnsK n<route . -t -€sb hc*sh h,B- h, 1^ sckrol "3h6;,-ocrtn,,,. Pot= -t:. aeEs -"n^c*sJ -^ + -etr-."# ", nE , h,,i,r,5t. c^osacLers= --r"th6- Sh"ls = !s r Pos-K stq1.66 arr fb',tt,* L ,t''u orr d; {')s- - tra.cts;qshc6 . {.t b.r{E ",qs=a(B.u*) .tSE 2.f="*S - .G.dhd ("rre'Ure head"g 's gofq to Pnr Le3r.,,s( -OUC- Ure -shoo6a Snot b< 4 extneo6ra coSe_ {h,<- €tc, ws " "e
  • 2. PLANNING YOUR (OPENING) SEQUENCE Please describe or explain the following: 1. The action: identify the event your idea is based around; whatactually happens (discovery of a body, an illicit meeting, a witness seeing a crime being committed, a criminal act taking place, a telephone call, a chase, a short journey etc)? -A cff-t sdiscnisftJ G6n gbool . Sl; - Sh beres or shaft cub Jia R.eptao Po."- - A^ h s€r3e5 soccre Sts,rlcrcre ^6'. 'J -- fln athacc ocur:', tl+ af ^,-^^, {= e.o?"q -.Ar:nbjluo"{ should tP make the audience think about or feet, what 2. The thefrEft), WHat 'issues'will it raise (revenge, sexuality, voyeurism, stalking, obsession, greed etc) a Hi Drtt.n c"orr-chsr 3arrFnl o H?11 bPt l{ Ch"'(tsr osses$d ntcl -fntsrrsE, ",kh, !Cr -o*.:kuossd ctLnnosphoe -*:: 3. The narrative: how is it structured - classic narrative pattern or break with convention, real time or different time zones, flashbacks/forwards, dreams etc. Will there be dialogue? What about diegetic/ non-diegetic sound? Ctqssfc cocrG5Le^ F-kLerc @}L CTFFC h*^So-." :sHs? leofos shor "h;;.. -Cccluq)tfcnel "f Kffi,e:Ti f;s,x'7/s k--resce O+ .. Uoa.-- ,, 4. The character(s): who are ini:y)identify their roles, what are their characteristics, including gender, appeamnce etc? 1**^..t,1E,"gue L- 2"*,-i,-, choraders. c.. o( *ohich c,:il.l b o:f %,*.e.eeisgoing ta E< q. t ',tr U;;llq u:ha.n wtll t/ s,tluij h* co.qsicv ot J^..r,re ar,cl (oro,-o, 5L :;artir-e,l k t" vt 't ;nxpf'h9;ffi,"hn i,$!;"su3';H;.d;t r5rb=1( ?Le s Gn fs, r,;[ ffi b<-rnn P.*1eclh4 HararLrnot.) lcrocferf-' ;;ffi jmmf"m,tub, i,i'%'tr "**h#;)b biffi"ffitH#*t"bi 5. The sefirnq ano cnotce or locatton: wneFe tS tt Set: le setting an lft-.-.:i t rcog$l be- SeL ier .. r Ei 9o' C."aL€nur'ccfiryert,Tr,,6, Y"fT*15 s-:94'se' ..ond h-*. €-'reryo.,t, L-f,e e)? I) look Gr - do.rK4eenc , Shada4;t/ k-'+{:6^g sc}6tst esb.qt [ours LT-E ffi ffi ikt'q, e h.-rmf'ffi.' o<.r ri
  • 3. 7. The camera work: the style you are aiming for deose c;{rcn5 U" ooftso=hcrrot- khmuq aor cs-ffila qrrK' qs ut as kl.< Stanjine . - 6s'd h€a - s'5nga-H-se €*^hq1''t-' "rrl,&?l.J ^:Pf} U"errf - Csea,fs =Oe*r*? ;..'d ioksdtre d}skdrer+<""' . -6U< heo.d B. The editing: edited as a continuous sequence, use of cross cutting, use of montage, or combination? C.*= C{ftq=q - q S' h:ctiens d C ql. I VS StsrtEv ' Crc,b,c'o-ti d -2 si hl<utros " "aJ. c-k,oo< 't'otn=nb 9. Has your idea been 'tested'against the key criteria (the B questions)? y.., & o,r €xc('t 6 qs uie- & fft- ^a-ue qduo'c6'd ii+f="g €Aufgc'c,e.'k a-od qs itlsin q. Secttdci G^<St. ticere fnGt ooL b- *5 a'c.nPesb r 10. Group responses? c0 St tr' ho.rrer3er scf i*jont kp TfqK€ t ife U"e dd't rt Q'S the qrldtrc '.t Sure uX doo Lt Otlo'CdcofiiCe-.]Ee "G'a i hord t 6ttor., Lt e erbrqct. rr 11. Teacher responses?
  • 4. DETAILED TREATMENT FORM PROJECT: Name , R.: t- k ho.n, Pase No: Group: N Working Title: Sub genret !{o."ar C',* Camera work Action lconography Titles graphics Visualstyle Soundtrack breakdown (Lighting, colours, framing, angle, (who/ whaU how) (Location, backdrops, V/O, dialogue, perspective, key signifiers etc) sfx, transitions) instruments(line by Iine) movement) Schcot bctts c8'! BIqnL JCTGS6 GO e"crs ^<r SroSSrrcor. anu'*s.6srt -"+ tone o-sd &-te B-$'btg irt lo ' cs<1..'e Sqgl+e. or,g u F €quiPevrecq st €rxJrrEncfFt' a*- ogesis5 classr@cn Fc^<t1o5o€ €-16rP- I {{6 o hcnaheryo a reor8 sdnot e..h*'€ ,6 s6,r6(rc"u, 5 lJ J+ | (Elk_., Qrr[ {'O CiesS . ggo'tFS U q:iUnind,tr q-EcrtrEehtG( r.rlq hstE, atr.^e onddate QfrisG^ ilt te. rb CcrSin *e ta,ccar6,'d. c"u. tioe-erdio1. .-a ds !-e- Qrcrsts". aC k-acrin ShE't c ^ GreSUfir&€ t 6t st" Gor*oot pc$toqFrst Lrqt(r.t $.t wafr.^,ro -. *L efS.*-oci U' Gtss &.+ c{s.- Uiq o*Snprk- GJC 6-coe5h G,.st. 6otS*3rg7 iodsUnct . til.s ond6txh6 ioscl* cata-s/ t iabUoq) bqcr hccn€, {D 5' .,-- to".= .-F 5dU" Sb"*"rLdtog ,.r:cc1or aftd ac€t,.s (gt s '{* pcss b crsrecrks 5, C*r'c Shob oe S,bq.rEg: iS Seeo Gor! be:6q$ eks€e. droretic sand a€ a," u:o.tin{ ksqK- , icr q. dar,-to eefl)l s..; iedei*43 han€, ordree,cc a n tjn'€ Ct+tdro Platog in Gese, * c-rl,st t-r-:qtth13 : b Gnt rd,.intss She O* ' h5k'5 * s crOn-di€opsc i'61^,rr'C 4re, *Eofr* se6 fs h.rt CoqeueoCSE. a* ,.|..;+.s'rch;d(6r Res.o6 -SC:ne ? e'Fa'cs€' NoArsql setUn5 _f b gur5tso(, t o.JCq tncudeS CLA .f o € O ra.r"l"ojJ C crv.,,gt& tc.".e Cioge'P 6ft ',t ,rdierrd clh<r d.attcs- sh+.x. cf r-PeePcrr ' L { ",*,}".- "ig .b,rerrer; ns< CbBb a S.A drekict h.o..ra c sosc'o€ aoa. Shots .d+ 41. e-..""* CtiiiA''en eicr15r5' i &r€o 9or1rn5 !.Vrr<6 q.nx'o6' U b srDc'ti seres s(e'E 3on af {c"lJpr €xhf€+,cre Cl4Sc.€ ,rri Un rSCo5rn ' j }egeAi6. ot 3)T.:t6+ b Csrnentl SCrac-ser9 S arrd . b rq*,E Scr€gr be- hcosd" z' atar <- -kcPcr*o a-id-
  • 5. DETAILED STORYBOARD PRoJEcr: Operi.,5 6S Ftfitrr Gh".Pug" ruo, Shot No/ Visuals Camera Sound Titles Visual Notes duration style/transition P*o* -Tf"..< oeG( .o) i&"tiercr Screeoappe No: Bcrg r"oith aaui- Hcllrd he6 DtQSSe So.sd ol : pc<r€rt' <rr tS€ Qob Q ' ro toJ=icn Scncoi bett &13 onbo{. 3,- Si ts up 2 Pactsioq ceaC15 rnis.rd d *!''< ha< ! o€ 80" (ei3n'Aes e"d oF tOr-, rt'c$rt ti u. d'is- tp o€ fjne tj-€ 61666)evric hG"d sToe q,rso dete' Facrcs L,p ba o..srd l6qug r6Ofy . t^c>crt , $icl' € No: fpod {-$i-th t)tqpue S*r.d CaS.rq11o Larqshoe A€ t-t e. c.ntslC tlrr udq.lgr d.:{ k-rcadPha=gs -@r- . e"-- G.cYaS %tc-lont)Sts,]c5 bo s NONC agn€r pc,rpr + th< rocd iecd. Fer io S[<rL- No: p;q.uc Sarrd Shce errfr.) S.r"ei bag Cra-ne sho& oC&o'tstsF a.bouC - Fc{ 66 B i.,Js Rse AiclS'c5a:q1 fuoru€ 1 Vi€!.) d)K Orrt-ffid an Cn-nCh13 ko*-s o.S S Le ."rqt a-CrcEs, ' Shot' No: Kt< hoUi"g C oSe ,rp aud tl,n*di€aGtic rn rrsi e of tornr k;ll<r fidue cl d€furrcLrlg &yrn iotg inGr,t af €,(be$ce (tog &.-rre bo cresle N)cq< 27 Ll-KG€a €.g Koi(& .-rg oF trfog.o an oj*-rosph,et ,', erngh<3)S A Lerroc, <(iJTtg''tq - =/q a4 oF Scccr: h41tr e)emei