MMSP145 - Single Image Storyboard

In this exercise, 8 to 14 shots were created from a single image into a storyboard process. I chose to do it on this Hieronymus Bosch piece. Here is the resulting storyboard:

MMSP145 - C4: Aspect Ratio

Summary -
Old American standard projection (pre-1952): 1.33:1 or 4:3
Today's HDTV standard format: 1.78:1 or 16:9

Prior to today's widescreen formats, however, in the mid '50s, 1.85:1 ratio was the standard widescreen format for projected feature projects. Today, the wider formats are still used in the Super 35, anamorphic, and 70mm shooting schemes.

General method to calculate a correctly proportioned frame: Figure out what size of paper will be used. Decide the height for the frame, then multiply it by the aspect ratio of your media. This method will give you a general storyboard dimension for the project.

MMSP145 - Storyboard Moment Exercise

For the record, please excuse my poor drawing skills. I'm just trying to make do with what I can, haha.

The Storyboard Moment Shot List

1.      Long shot, eye-level, static camera view of man standing on corner with bouquet of flowers behind back as he looks to the left of the frame.

2.      Mid-shot, eye-level, static camera view of man’s perspective of apartment buildings across the street.

3.      Close up, high angle, static camera view of door opening as a woman is seen coming outside.

4.      Close up, eye-level, static camera view on man’s reaction looking toward left of frame.

5.      Long shot, low angle view as the camera tracks out with the woman walking down the stairs.

6.      (see 1) except we’re zoomed in closer to the man as he keeps the flowers hidden

7.      Mid-shot, eye-level view of woman crossing the street from left to right as the camera crabs in her direction.  Note that when she reaches the man, camera moves to indicate breaking of 180° rule, so man is on left and she is on right.

8.      Close up, eye-level, static camera view of the couple and their eye contact.

9.      Mid-long shot, eye-level, static camera view behind the man’s shoulder as he surprises her with the bouquet of flowers. She’s delighted as she accepts and embraces him.

10.  Close up, high angle, static camera view as they “exchange” kisses.

11.  Mid-long shot, eye-level view as she wraps her arm around his right elbow with the camera tracking out while they walk away towards top of frame.

The Backstory to this Storyboard Moment

     In this particular scene of a romantic comedy, the man is meeting his girlfriend who’s just gotten back from visiting her parents. He hopes to surprise her with a bouquet of her favorite flowers. Their exchange is a kiss, besides his giving her the flowers. The scene ends as they blissfully walk away together to attend to their afternoon plans.

Google SketchUp Game World - "Sims Clue"

My game world is based in a mansion I found in the models database created by another user. The premise of the game combines the elements of the board game "Clue" with the "Sims" aesthetics.

Physical Dimension:

1. Does my game require a physical dimension? What is it used for? Is it an essential part of gameplay or merely cosmetic?

Since Clue is originally a board game, it doesn't particularly require a physical dimension, but a playing space or indicator of "rooms" and sorts is essential to gameplay.

2. Leaving aside issues of implementation or display, how many imaginary spatial dimensions does my game require? If there are three or more, can objects move continuously through the third and higher dimensions, or are these dimensions partitioned into discrete "layers" or zones?

The game can be 2D, but in the screenshots above, for aesthetic purposes, the different rooms are in 3D.

3. How big is my game world, in light-years or inches? Is accuracy of scale critical, as in a football game, or not, as in a cartoon-like action game?

The game world does not need to be scaled critically and can be cartoon-like, as all the gameplay occurs inside a mansion with different rooms.

4. Will my game need more than one scale, for indoor versus outdoor areas, for example? How many will it actually require?

There are no outdoor areas. Gameplay is strictly indoors to investigate rooms for clues.

5. How am I going to handle the relative sizes of objects and people? What about their relative speeds of movement?

People can select an avatar, but it'll be more of a point-and-click "find clues" in different areas, so the avatar will not be seen on screen. The speed of their movement is user-customized.

6. Who is my world bounded? Am I going to make an effort to disguise the "edge of the world," and if so, with what? What happens if the player tries to go beyond so?

Because gameplay occurs within the mansion, the "edge of the world" will be the walls. The player will not be able to go through the walls.

Temporal Dimension:

1. Is time a meaningful element of my game? Does the passage of time change anything in the game world even if the player does nothing, or does the world simply sit still and wait for the player to do something?

Depending on the number of players, a time limit can be set, so inactive players don't need to wait forever for another person to take their turn. Otherwise, the world will stay still and wait for the player to do something.

2. If time does change the world, what effects does it have? Does food decay, and do light bulbs burn out?

N/A

3. How does time affect the player's avatar? Does he get hungry or tired?

The player's avatar is unaffected by time.

4. What is the actual purpose of including time in my game? Is it only a part of the atmosphere, or is it an essential part of the gameplay?

The purpose of time is only for multiplayer mode, so players don't need to sit around waiting endlessly on one person.

5. Is there a time scale for my game? Do I need to have measurable quantities of time, such as hours, days, and years, or can I just let time go by without bothering to measure it? Does the player need a clock to keep track of time?

There is no time scale. The player need not worry about keeping track of time.

6. Are there periods of time that I'm going to skip or do without? Is this going to be visible to the player, or will it happen seamlessly?

N/A

7. Do I need to implement day and night? If I do, what will make night different from day? Will it merely look different, or will it have other effects as well? What about seasons?

N/A

8. Will any of the time in my game need to be anomalous? If so, why? Will that bother the player? Do I need to explain it away, and if so, how?

N/A

9. Should the player be allowed to adjust time in any way? Why, how, and when?

In multiplayer mode, before the game begins, the players will decide if a time limit per turn is set and for how long.

Environmental Dimension:

1. Is my game world set in a particular historical period or geographic location? When and where? Is it an alternate reality, and if so, what makes it different from outs?

The game world is based in a mansion.

2. Are there any people in my game world? What are they like? Do they have a complex, highly organized society or a simple, tribal one? How do they govern themselves? How is this social structure reflected in their physical surroundings? Are there different classes of people, guilds, or specialized occupations?

There is a dead person due to foul play and the only other people are the other players, one of which is the murderer.

3. What do my people value? Trade, martial prowess, imperialism, peace? What kind of lives do they lead in pursuit of these ends? Are they hunters, nomadic, agrarian, industrialized, even postindustrial? How does this affect their buildings and clothing?

My people value the truth in "whodunit".

4. Are my people superstitious or religious? Do they have institutions or religious practices that will be visible in the game? Are there religious buildings? Do the people carry charms or display spiritual emblems?

No.

5. What are my people's aesthetics like? Are they flamboyant or reserved, chaotic or orderly, bright or subtle? What colors do they like? Do they prefer straight lines or curves?

Players get to customize their avatars to their liking.

6. If there aren't any people in the game, what are there instead, and what do they look like and how do they behave?

N/A

7. Does my game take place indoors or outdoors, or both? If indoors, what are the furnishings and interior decor like? If outdoors, what is the geography and architecture like?

The game takes place indoors in a furnished mansion.

8. What are the style and mood of my game? How am I going to create them with art, sound, and music?

There can be unlocked styles ranging from wacky, contemporary, cultural, etc. stylings. The mood of the game will be suspenseful, but light-hearted with a touch of dark humor (after all, we are trying to find a murderer).

9. How much detail can I afford in my game? Will it be rich and varied or sparse and uncluttered? How does this affect the way the game is played?

The gameplay doesn't require too much detail. There will be different areas with interactive spots where clues can be sought to uncover the truth.

Emotional Dimension:

1. Does my game have a significant emotional dimension? What emotions will my game world include?

No.

2. How does emotion serve the entertainment value of my game? Is it a key element of the plot? Does it motivate characters in the game or the player himself?

There isn't much of an emotional element in the game.

3. What emotions will I try to inspire in the player? How will I do this? What will be at stake?

If in multiplayer mode, a sense of competition can be invoked because the first to uncover the truth wins.

Ethical Dimension:

1. What constitutes right and wrong in my game? What player actions do I reward and what do I punish?

It's wrong to commit a murder, but no punishment is appointed because the point of the game is to find out who did what and where. Wrongful accusation will result in disqualification. Correctly identifying the who, what, and where first wins the game.

2. How will I explain the ethical dimensions of the world to the player? What tells him how to behave and what is expected of him?

There will be a set of rules to abide by prior to gameplay, much like the board game.

3. If my game world includes conflict or competition, is it represented as violence or as something else (racing to a finish, winning an economic competition, outmaneuvering the other side)?

The first player to discover who, with what, and where the foul play occurred wins.

4. What range of choices am I offering my player? Are there both violent and nonviolent ways to accomplish something? Is the player rewarded in any way for minimizing casualties or is he punished for ignoring them?

The choices are based primarily in searching for clues and asking questions. Violence is not a part of the game (besides the foul play plot).

5. In many games, the end -winning the game- justifies any means that the game allows. Do I want to define the victory conditions in such a way that not all means are acceptable?

As mentioned in the answer to #1, a wrongful accusation will result in disqualification, so the game cannot be won.

6. Are any other ethical questions present in my game world? Can my player lie, cheat, steal, break promises, or double-cross anyone? Can she abuse, torture, or enslave anyone? Are there positive or negative consequences for these actions?

Players cannot lie, cheat, steal, or double-cross anyone. It's a fair, level playing field.

7. Does my world contain any ethical ambiguities or moral dilemmas? How does making one choice over another affect the player, the plot, and the gameplay?

N/A

8. How realistic is my portrayal of violence? Does the realism appropriately serve the entertainment value of the game?

Besides the foul play at hand (at highest, rated "PG"), there is no portrayal of violence. It only serves as a plot point to aid the main objective of discovering "whodunit".

MMSP145 - "Quantum of Solace" Shot List Exercise

In this exercise, I analyzed the scale, angle, camera movement and character blocking of scenes or sequencing I found to be compelling. Although there were many scenes that piqued my interest, I decided that the introductory car chase scene had the most dynamism and, of course, I surely don't mind staring at the sexy, sexy Aston Martin Bond car.

// Note: My reference for the different shot types is from this website. However, mind you, my shot list consists primarily of vehicular-related shots, so take it as a general reference.

Shot list:

1. Extra long-shot (XLS), eye-level camera tracks in toward the mountain from the ocean
2. Extra close-up (XCU), eye-level, static camera view of the side of James Bond's car (Aston Martin) as it's in motion [as with many of these shots that are just mere glimpses of the scene, this was a quick shot]
3. XCU, high angle, static camera view of the hood
4. XCU, eye-level, static camera view of the exhaust
5. (see 1) except the camera is now zoomed in closer to the mountain
6. Close-up (CU), eye-level shot of a couple vehicles driving away from the camera as it crabs right
7. Interior of a vehicle, CU, high angle, static shot of hand preparing ammunition
8. Medium close-up (MCU), eye-level, static camera view of a vehicle front end as it comes closer toward the camera
9. Big close-up (BCU), low angle, static camera view of vehicle in (8) as it drives from right to left of frame
10. (1) at this point, we've tracked in enough to see, from a distance, the tunnel these vehicles are traveling in at the base of the mountain
11. XCU, eye-level, static camera view of the Aston Martin wheel spinning in action
12. BCU, eye-level, static camera view of vehicle rear
13. XCU, eye-level, static shot of the right headlight/front of the vehicle
14. XCU, eye-level, static shot of Bond's eye
15. XCU, low angle, static shot of thumb flipping a switch
16. (14)
17. (1) camera specifically tracks in to tunnel now as exciting chase music cues
18. (11)
19. (3)
20. Starts with CU, eye-level view of passenger side rear wheel of Bond's car as it drives to the right of the frame passing a couple pedestrian vehicles. The camera then tracks out and subtly crabs right following vehicle direction. Ends with mid-shot (MS), low angle view of the Aston Martin.
21. BCU, eye-level, static shot of driver's side mirror as vehicles are seen quickly approaching
22. MS, low angle, static shot of lead pursuing vehicle front end with a man shooting a gun from passenger window as it drives toward the right of the frame
23. MCU, eye-level, static shot of the man firing weapon towards right of frame (at Bond)
24. Starts with XCU, eye-level view of the rear hood of Bond's car. The camera pans left as the glass shatters from the rounds fired. The driver's side mirror is where the shot ends.
25. Starts with MS, low angle, side view of pursuing vehicle with man shooting. The camera pans right and ends when the front hood of the vehicle enters the frame.
26. Long shot (LS), eye-level view of the rear of Bond's car (on the right side of the frame) driving away from the camera as two pursuing vehicles drive past the camera (from bottom left). The camera slightly tracks in towards the direction of the vehicles.
27. Starts with XCU, eye-level view of the driver side door of Bond's car with a clear reflection of the assailing vehicle(s) seen. The camera then pans right to enter the two pursuing vehicles into the frame at MS to Mid-long shot (MLS), low angle view. Shot ends with Bond's driver side rear wheel still visible on the left side of the frame along with the two pursuing vehicles.
28. CU, eye-level, static shot of Bond driving
29. MCU, eye-level shot of Aston Martin rear as the camera subtly pans left to follow its lane change
30. Interior of assailant's vehicle, LS, eye-level, static camera view of Bond's car as both vehicles drive past civilian vehicles
31. BCU, eye-level shot of the front-end of pursuing vehicle as camera pans left to the shooter
32. (23)
33. CU, eye-level of truck tire shot and shredding to pieces as the camera pans in closer
34. Bond's car (on the right side of frame) and the truck (on the left) are seen MS-MCU at eye-level. The tire is shredding fast as the camera tracks out, the truck loses control and veers toward Bond at CU-MCU, eye-level.
35. Interior of Bond's car, CU, eye-level, static camera view shows Bond driving (from behind) and his eyes are revealed through the rear view mirror. The truck is seen losing control veering left and ends with the rear of the truck directly in front of Bond's car.
36. LS, high angle, static camera view of the front of the truck as it scrapes against the wall coming CU towards the camera

// Edit: Here is a youtube clip that the shot list references (~0:36 - 1:16). As of this edit, I realize that I missed the shot right after the tracking into the tunnel when he shifts gears and the clutch, brake, and gas pedals are momentarily captured.

MMSP145 - 3 Act Structure Paragraph

In the beginning setting (which starts at Plot Point 1), a man is being pursued. He’s searching for a place to hide—searching for answers. He ends up in a woman’s house. Act 1 consists of a back story that includes flashing back to a tragic and troubled adolescence as well as a love affair with substance abuse. Act II involves a love interest that motivates his transition from dark times to brighter days. Plot Point 2 occurs when she is taken away from him as he struggles with regressing to old habits. Act III concludes with the murder of an innocent and suicide.

The Picasso Game (Concept)

https://docs.google.com/present/edit?id=0AVx0QEmOQW7fZGdwM2Z6M2RfMGhobjhrNmQy

MMSP145 - Shot List Exercise

American Psycho Script: http://www.dailyscript.com/scripts/american_psycho_unproduced.html

I used the following introductory paragraph of the script to create a personal shot list totaling 5 shots:
"Enormous grey buildings, cold and impersonal, reach up to the sky. HOMELESS PEOPLE lay passed out on the sidewalk, in doorways, on benches. A grotesque disfiguration on an otherwise perfect, gleaming surface, they beg for food, for change - anything. Pathetic and broken, they are ignored by Wall Street's ruling class."

1) Long-shot, worm's eye view of enormous grey buildings

2) Mid-shot, eye-level view of homeless people

3) Close-up, high-view of homeless person on bench

4) Extra-long-shot, eye-level of Wall St. buildings contrasted by begging homeless

5) Mid-long-shot, high-view angle behind Wall St. businessman as he ignores and walks past homeless man


Edit: Finally found time to scan, so here is the uploaded storyboard image originally attached to the shot list.