Graphics Reference
In-Depth Information
5. Wagon driver takes a sack from the back of his wagon.
6. Driver leaves the bag on the doorstep and rides away.
Shot List
In addition to a beat sheet, you may also have a shot list. A shot list takes the beat sheet
to the next level. A shot list starts to anticipate the cinematic form the beats will take. The
shot list will explain how it will look on fi lm by describing every individual shot. A beat,
which say—a wagon and driver come down the road, could be one shot or a half-dozen
different shots depending on how the fi lmmaker wanted to present this action.
1. Extreme long high-angle shot of village with a driver and wagon already in scene.
2. Cut to closer shot from same camera angle as wagon slows in front of a particular
hut.
3. Medium over-shoulder shot of wagon driver looking at chosen hut.
4. Close-up ¾ back view as mouse cracks open shutters and looks through the gap.
5. Close-up of a hand reaching for a dark cloth bag in the back of the wagon.
6. Handheld camera shot from mouse's point of view through the shutters of the driver
carrying the bag toward the house.
7. Front view medium shot of driver getting back in his wagon.
8. Same view as driver grabs reins and motions to go.
9. Same view of wagon leaving frame, revealing bag at front door.
10. Camera zooms slowly toward the bag.
11. Close-up of bag.
A fi lmmaker may choose to develop beat sheets and shot lists for the entire fi lm. If you are
doing a short this may be a very good idea. These devices can be used to help realize your
vision and can be very valuable, but these lists do not necessarily represent the fi nal version
of the fi lm. You should approach them as preliminary plans, subject to change.
Draw and Change
If you give a beat sheet to 10 people you are probably going to have at least 10 different
versions of how these shots will look. Written and spoken words are not specifi c enough.
You need to make drawings. Imagine your images playing like a fi lm. Ask yourself, “Can
they be made better, more interesting?” “How do I want the audience to feel; worried, suspi-
cious, or indifferent?” “Who or what is the center of attention in this shot?” The answers to
some of these questions may evolve as a series of images develop. You may be many hours
into a project before the best solutions begin to reveal themselves. Revisions will certainly
be needed. From shots to scenes to sequences to acts to a fi nished fi lm, it is important to
see the fl ow of images as malleable and open to reinvention.
