The Storyboard

Storyboard is important to any media production, not comparable as much or as little as the script. Storyboard is just that, a stunning and significant visualizer of how each frame and scene comes together at large, to paint a bigger picture and put the creator into a perspective of being critical and committed to the project at hand. Moreover, it's a tool for other member of production to assess within the creative project and be more picky with how things plan out.

• Storyboard development 

         Storyboarding, just as script, is somewhat even scarier and off-putting for me to initate against it. This is because my drawing skill, and more fundamentally, my graphic visualization is not as prominent and vivid as I would like it to be, thus making it harder to outline in my head and then match the visualization down into shapes and figures and colors. 

            However, it's always easier to take the next step to test the water, to figure out that it's not that complicated after all, to look at the height of the mountain but enroute from the bottom up. As the script was quite attempted at, storyboard went fairly smoothly with limited time I've allocated for it. This initial unpolishness shall be excused, as this storyboard shall only be used to initiate thoughts for better communication in my group, hence the more put-together, coherent storyboard would be done by other members (Nat and Rene), in production stage. This would be helpful for camera operator and director in filming process, to look up and reference the shot frame by frame. 

• First rendition 

         The storyboard actually supports me in noticing some flaws in our continuity, such as breaking the 180º rule with the scene that Detective A. kicks the balcony. If we was to filmed it from the side and still want to show the facial expression of them rather than the backside of their head, would betray the rule. Moreover, the storyboard helps me to further envision the mood and tone of the opening sequence, with notable troupes of mysterious call in the dark, with limited light source and anonymous other line of the the phone; the running step and sploshing of puddle with combat boots; the dizziness of looking around, the lights blinding and blurring, so that I can better construct the atmosphere of the frame, either by location scouting, costuming and color grading post production.

• Renee rendition 

      It's worth noting that even though Renee is a talented artist and storyboarder overall, we still had some heated arugment about how the shot look in real life in comparison to the shots they drew. Renee had well over 3 rendtition of storyboards, varying from the length of each board as we improvise and adjust the shot on site. 

        However, the final version of this storyboard is accurate and help us tremendously to visualize each shot, especially if we are shooting in continous day, with little caution for continuity.