Storyboard Voiceover Script

Shot 1

• This shot will be an extreme close up with a focus pull to a shallow depth of field.
• From this shot to shot five we will use a dissolve transition with low key to give an eerie effect.
• We will use dark, slow, parallel non-diegetic sound throughout these as well. 
• The words on the paper will be iconographic to thriller genre and context, such as, personal and criminal details.

Shot 2

• This shot is a tracking shot mainly aimed at following the protagonist's hand.

Shot 3

• Shot three is an ECU of the woman speaking into a voice recorder. This ECU will create emphasis and draw our attention to what she's saying rather than who she is - creating an enigma.
• We will use a voiceover sound bridge over these shots of the dialogue being recorded by the voice recorder.

Shot 4

• This is a long shot which contains blocking with large depth of field so that the object blocking the camera will be out of focus. We will use a focus pull to focus on the pin board which will have photos of her victims and information of their location.

Shot 5

• Here, we will use an upward movement of the camera to create restricted narration and then reveal the criminal record. The restricted narration creates tension and is used commonly in our researched thriller openings.

Shot 6

• This is a tracking shot of a newspaper headline, it is an ECU which is slowly revealed, creating tension.

From shot six to fourteen the music builds to a crescendo, after fourteen we hear silence and dialogue.

Shot 7

• This shot is a POV shot to involve the spectator further.

Shot 8

• This is another ECU of the protagonist's eye this will show facial expression and reaction to the records. The crescendo will be fully built here with use of some diegetic sound also. We will also use foleys to emphasise certain sounds (the chair scraping along the floor).

Shot 9/10/11/12/13

• Here we will use match on action to increase the frequency of the shots parallel to the sound. Shots nine and ten will be ECU. Shot eleven is a medium shot. With twelve returning to a ECU. Shot thirteen (CU) is more match on action of the woman picking up the phone and holding it to her ear. We will see her lips moving here.

Shot 14

• At shot fourteen the music will stop completely and a sound bridge of her voice will continue.

Shot 15

• This transition will be a fade, which will lower the pace and return to the original sinister speed.

Here cross cutting will begin.


Shot 16

• Shot sixteen will be an OTS shot of the protagonist preparing to leave to look for the antagonist. The lighting will be back lighting casting a shadow in front of the woman.

Shot 17

• Shot seventeen is a cross cut back to the antagonist (OTS shot, eye level angle) looking at a metal, boring interrogation like chair bathed in a spotlight.

Shot 18

• This shot is a cut to an ECU birds eye view of the protagonist's hand grabbing a set of keys.

Shot 19

• Shot nineteen is a ECU tracking shot at a low angle of the antagonists hand scraping along the chair. This creates a creepy and sinister impression.

Shot 20

• Shot twenty is a CU low angle of the woman stretching to put her key in the door. We will have key lighting from above shining down on the door handle. 

Shot 21/22/23

• Here we have swapped shot twenty one and twenty two, which will link with twenty three with a fade, creating the sense that the cross cutting is over. Shot twenty one is a CU tracking shot, eye level. Shot twenty two is a LS of the antagonist walking towards the camera that leads into a dissolve transition. Shot twenty three is an ELS at a high angle of the protagonist walking towards the camera on an urban night time street. We will use the natural lighting of the street lamps shining down on her to create a natural spotlight.

Shot 24

• Shot twenty four is a crab shot, eye level angle, MCU to show her disorientation and confusion.

Shot 25/26

• Shot twenty five and twenty six will be merged into one POV shot as the protagonist walks around the corner and encounters the antagonist in a quick flash. Moving on to a cut to black.

Shot 27

• We will use several fades here to create the sense of her regaining consciousness, shot twenty eight will be a POV shot of her legs with a shaky tilt upwards leading to a match on action showing her eyes looking up the rest of the way.

Shot 28/29/30

• Match on action will also be created here, where the protagonist will be seen beside the blocking of the main light source at a high angle, ELS. We will use a focus pull here.

Shot 31

• Shot thirty one is returning to an ECU of her eyes looking back down as she sees something that the spectator doesn't see, creating restricted narration. A foley will be used to create footsteps in the background, representing, what or who she sees (creating an enigma).

Shot 32

• Shot thirty two is an OTS, high angle shot of the antagonist speaking to the protagonist breaking the silence. He is in silhouette, though she is entirely vulnerable, creating restricted narration and an enigma as to who he is.

(Post written by Jack Bumstead)