Minor Joshua, Iron Man 3/storyboardingsecrets.com

 

Storyboardingsecrets.com/blog      Joshua Minor

Progression of Shots

-It’s part of the film language

-Establishing Shot

-Full Shot, medium shot, close ups

           

            The Tease

- has you start on something really close, without knowing what is going on.

            Insert Shots

            -Versatile shot

            -A closeup of an object in a scene that will give you more information

            Corresponding Shots

            -A way of grouping your shots in predictable smaller pairs

            -sizes: stay consistant

            -angles: upshots/downshots

            The3/5 transition

            -A way of transitioning from one storyline to another

            Time Compression

            -Telling a lot of story in a short amount of time

            Point of View

            -Looking at the character, cutting to what they see, and cutting back to the character

Rasnake David, IRON MAN 3

iron man 3 diego a quintanilla

Seven Ways to make your storyboards even better than before!

1. Progression of shots

It goes like this; you start with an establishing shot a.k.a the Big Picture, then we go to a full shot, we see a lot but not as much as we did with the establishing shot. Then we keep going till we hit the medium shot, the close up, and sometimes, if the story calls for it, the extreme close-up.
You see, the series of shots gets closer and closer, hence the name Progression of Shots.

For example:

2. The teaser

The Teaser is like the rebellious teen to the Progression of Shot's grumpy dad. Whereas Progression of Shots says to start out big, The Teaser is all like, "No! I make the rules now!" and starts out as small as possible.

For example:

3. Insert Shot

You can't have your cartoon in one long shot unless you want to be some arty farty loser which I'm sure you don't want to be so you gotta spice things up with inserts. So let's say you've got a gal in a close up, we do a insert of a bowl of soup and then back to her face. Bam, now the audience knows this chick is hungry for some soup.

For example:

4. Corresponding Shot

This is some real simple stuff here, ya got two guys and they're each in their own shots. Like, we got one guy who's talking then when he's done, we cut to the other guy who is now talking. See? Simple stuff.

For example:

5. 3/5 Transiton

Let's say you're ending a scene of a farm boy going to sleep, giddy with excitement over getting to go to Hollywood and when you go to the other scene where he's on the bus, amidst the hustle and bustle of Hollywood, you think, "Wait, no, there should be more stuff in the middle, what should I do then?"
What you're gonna wanna do is have a 3/5 transition, that's where, before we get to the other scene, we get get little bite-sized scenes to give the audience a sense as to what to expect what the next scene is going to be like.

For example:

6. Time Compression

Let's say Sinclair is sitting snug in his lazy boy chair, reading his favorite book, Babbitt, when all of a sudden, a knock on the door. What do we, the storyboader do? Do we draw Sinclair walk all the way across the room to reach the door? Heck no! That's too much time! Time that could've been spent referencing Over The Top. So instead, when we hear the knock, we cut to the exterior of the house where we see the knocker in question. The door opens and it's Sinclair! You see! We didn't had to draw him walking to the door.

For example:

7. Point of View

Like with Corresponding Shot, this is real simple to comprehend. Kinda disappointed Sherm would end his video on a dull note with this (also with the minutes long commercial, but I digress). If anything, Time Compression was more of a big Finish than this. Anyways, we got this guy, he sees something offscreen, we cut to a dead puppy then we cut back to him crying over it. That's a Point of View Shot.

For Example:

Minera Hugo, Iron Man 3

Gurung Tika

George Megan, Iron Man 3

Camp Micah, Iron Man 3

There was one scene in the movie where Pepper and Maya were talking about stuff in a hotel room.

The first panel was the establishing shot from outside then goes into the room.

 

What's good about this shot is that it has good establishment of the environment both inside and out and you know where the entrance/exit is which will be important later.

Laura Aria, Iron Man 3

 

worm's eye view:

The Croods and Guy go down a cliff by using leaves and you 

see them coming towards the camera.

 

Andrew Fuller, Iron Man 3

This scene towards the end of the film had excellent use of anticipation, appeal, and cut away/insert.  The appeal of the Iron Man helmet sitting in the middle of a fire explains itself.  The use of the loud noise indicating the helmet was about to open drew the audience in with anticipation and the cut away to Stark's reaction heightened the intensity.

Fultz Jessica, Iron Man 3

Antics are moments of anticipation. 

Here is the moment preceding the antic, where Tony Stark is being established with the Iron Man suit.

This is the antic. The armor is in the process of being pulled to Tony by magnets in his hand.

This is post antic. This is the key action of Tony receiving the armor on his arm.

Dabu, Janet Iron Man 3

Even though there was a series of over-the-shoulder shots, the positions of the characters (Tony and Maya) were kept clear because the camera did not cross the line of interest.

Iron Man 3

Please go see Iron Man 3  before class on WED 08MAY2013.

Please post your ticket stub on the blog as well as an example of one of the topics we have gone over in this class, such as framing, staging, progression of shots, or antics, etc... and how it was used in the film
--Please draw the example as well.

You may work in class or from home on MON 06MAY2013 it will be an open lab so you have time to go and see one of these films on your own.