I began storyboarding with incredibly rough frames. These allowed me to experiment with camera angles without committing to detailed drawings. This year I'm trying to be more creative with cinematography rather than going for the first solution that pops into my head, as the first idea is often something I've just copied from somewhere else subliminally.
Beginning incredibly roughly is quite freeing and it feels good when you try sketching a new angle and the entire shot falls into place in a way that it hasn't before.
These are some of my early scrawls to get an idea of shot framing and pace.
These are some more refined boards. I'm pleased with the pacing and cinematography.
I've included plenty of dramatic low angles here to add drama and dynamism, to distort the faces of characters in the throes of passion. I've been inspired by Orson Welles' theatrical shooting style.
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| Welles in Falstaff: Chimes at Midnight (1965) |
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| Touch of Evil (1958) |
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