• Fades in to a close-up of Peter sat amongst the cinema’s seats as the film blares in front of him. The camera is still through the use of a tripod and faces him directly and on his level.IMG_8616
  • IMG_8617Wide-shot of the cinema, facing Peter again who lies on the left third of the frame. The youths enter from the right and the camera, which is positioned on a dolly, tracks them along. The camera stops its motion as the youths sit down. They are positioned on the left third and Peter is on the right.
  • A closer wide-shot of the characters as the youths become closer to Peter. Peter remains on the right, the youths remain on the left.
  • IMG_8625 (remember 2x)A close-up in front of Peter that reveals the youths over his shoulder. They lean over to speak to Peter and the hand-held camera follows them as they move. The kicking begins and the camera switches between Peter’s despair and the youths’ enjoyment.
  • IMG_8626Mid-shot from the side achieved from hand-held camera of youths and Peter and they torment him. The camera turns to reveal them throwing popcorn at him and Peter’s reaction.
  • Close-up of Peter from the side to show more of his reaction as he gets up and leaves.


In preparation for our final scene, we thought it would be wise to put together another storyboard to help us visually plan the shoot. This is really where Jannath and I worked as a team since I was the one who directed the frames however, due to her artistic skills, she took it upon herself to do the illustrations. I was more than comfortable for her to do this after seeing her work which I’ve featured below.

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We both got to work and she carefully “drew” upon ideas we both put together to get the result we did. I repeated the process of making a video consisting of the stills and the result can be seen at the top of this blog. Enjoy!


We had our plot and script, and one of the steps film-makers often follow this with is putting together a storyboard. The purpose of a storyboard is to visualise a piece of film through a graphic organiser in the form of images. The illustrations are set in a sequence to detail the film and prepared shots to help us with our shoot.

The video above shows an in-depth look into the workflow of storyboarding by Film Riot’s Ryan Connolly, which I took inspiration from in directing Jannath’s drawings.


ABOVE: The storyboard itself featuring the original, un-edited images by Jannath Hussain.

We’d finished our cinema scene regarding the storyboard thanks to my partner, Jannath Hussain, and her talent with creating such fantastic illustrations, which featured such things as an establishing shot, as you can see from our image in the top left corner, and extreme-close-up that’s positioned as the last image above. The storyboard worked great and what we put together for the cinema scene on paper has been featured above.

However, I took it upon myself to push the limits of what one can do with these drawings. Although I’d helped put together ideas for angles and images, a balance needed to be made with this area of pre-production and so because I didn’t illustrate I thought I’d put together a cinematic creation purely from the storyboard.

Stage one was photographing each image separately with my DSLR camera to get a great quality for each image. I laid out the storyboard and set up a mini photo-shoot with a single light illuminating the page so that the lighting was even. You can see the original photos below.

The next stage was to edit the photos and I did this using PhotoShop. They were all great images but I wanted a much darker look for them and did this using the “Burn Tool” which I think really made a big different in creating a scene that appeared to be in a movie theatre.


I then took the images into Adobe Premiere Pro where I cut the photos together in the right sequence, added movement to them and often movement similar to visualised camera movements as well as adding atmospheric music for effect.

screen shot SB video

The final stage was rendering and exporting the file as an MPEG-4 and uploading it onto my YouTube channel for my blog’s benefit.

The finished product can be seen at the start of this blog and although it took some time, the entire process paid off with giving me a better understanding of what’s planned for our shoot which gives myself and Jannath a huge advantage concerning making the best piece we can.


6With the idea of using an old Ford Escort as a significant part of our film, I went to a spot overseeing my home town during “golden hour” which is the first and last hour of sunlight during the daywhen a specific photographic effect is achieved due to the quality of the light. The purpose of the shoot was to experiment with different angles and camera settings to test ideas I had and to try out new ones, which was help in the shooting and storyboarding process of the production.

Primarily using a 50mm lens, I managed to create the set of edited photos you see here. Colour was a big part of editing and was altered using tools such as “Vibrance”, “Colour Balance” and “Hue and Saturation” in the “Adjustments” menu of Photoshop. I also used extensive sharpening to make cleaner-looking photos.

21It’s photo’s like the one above that I was really pleased with in that they really captured what I was imagining in my head. Without being a awkward, weird angle the camera is positioned so that the viewer can see the car clearly but yet the mysterious, creepy driver I was going for remains unknown and eerie.

5Here are some interior shots I did of the cars in their garage. Above you see the lights staring at the camera with is a shot I had in mind to create an uneasy atmosphere where the audience feels perhaps intimidated. Below is what I think is a nice shot where the car’s headlights bounce of the surrounding walls to create a warm atmosphere.

23The shots have definitely helped me gather my ideas and get together new ones that I hadn’t thought of yet. Overall the shoots were very beneficial and if the car was incorporated into our short film they’d have their effect in a positive way.