SCENE 1

TIGHT AND HIGH ACTIVITY SCEENE, BALANCE AND EXPERIMENT WITH THE CLOSEUPS AND INSERT SHTS
EXPERIMENT WITH THE TIMING OF THE MEDIUM SHOT LENGTHS AND DIALOGUES
EVOKE AND ISOLATE THE EMOTION AND NOT FEEL DRAGGY

PART 1: ESTABLISHING THE SETTINGS AND SCENE

MINIMUM HEAD ROOM OF HALF OF THE UPPER THIRD
MAINTAIN THE HEAD ROOM IN THE PUSH IN

REVEALING SHOT
( SLOW PUSH IN) CUT OFF CLOSE UP
CUT OFF SLOW CROSS FADE
PUSH IN CONTINUES

RAINING OUTSIDE BLACK SCREEN MAIN CHAR IN MIDDLE THIRD AFTER PUSH IN ENDS,STOP BGM INTRODUCING THE MAIN CHAR
INTRODUCTORY SCENE DURATION 0.5-0.8 SEC SLOW PUSH IN( EMPHASIZING THE MOMENT OF FRAUSTRATION CERATE INTENSE, THEN CUT OF CLOSE UP
PURPOSE: TO CREATE ATTACHMENT WITH THE ATMOSPHERE AND FRAUSTATION WITH MUSIC AND CAMERA MOTION(PUSH IN) THE SHOT FOCUSES ON HIS EYES, SHALLOW DEPTH OF FIELD TO EMPHASIZE
DIRECT ATTENTION TO THE CAHR( ISOLATED THE BG WIDE ANGLE SHOT TO REVEAL AND GET FAMILIERISE WITH THE ENVIRONMENT JOHNS FACE AND EYES
LIGHT COMING FROM WINDOW, BUILDING POSITION ON THE 2/3RD OF THE FRAME DEPTH OF FIELD TO CREATE THE CLOSE UP ENGAGING
TO BUILD UP THE SCENE
1920*1080 FRAME
WIDE ANGLE SHOT
LOW ANGLE SHOT OF THE DIMLY LIT ROOM
TO UNVEIL THE SCATTERED AND DARKNESS AND IMPORTANCE
OF THE CAHARACTER

USE DEFUSE LIGHT AND WARM LIGHT IN THE WINDOW PANEL( COMPOSITION
FRAME WITHIN FRAME)
INSERT SHOT
BAROQUE DIAGONAL

Darkness litup PRECISELY TIMED

WHIPPED
TRACKING SHOT PAN WITH TICK TICK FOCUS SHIFTING INSERT SHOT
OF CLOCK
RYHTM BIND WITH THE
TAPPING OF FINGER

FOCUS ON CHARACTER MOVEMENT( TENSED AND PRESSURISED MOVEMENT FOCUSES THE NEWSPAPER TO MARK THE DETAIL( BIT LIKE CLOSE UP SHOT TO ATTEMPT TO WRITTING, BLANK SHEET, FRASUTRATION INTENSIFY
FINGER TAPPING INSERT SHOT FINGER TAPPING CONTINUES(BG BLURRED)
SOMETHING IS PINCHING HIM- RANDOM MOVEMENT REVEAL AND ATTRACT THE VIEWER TO SEE THE NEWSAPAPER PIN DROP SILENCE, PEN MOVING SOUND ON FOCUS
TO CREATE INTENSE AND FEEL THE FRAUSTRATION AND URGENCY OF THE TRACK THE MIDDLE LIN EOF THE SCENE UNTIL THE RYTHM ENDS
SUDDENLY FOCUS SHIFTED TO NEWSPAPAPER IN THE NEXT SXENE UNDERSTANDING FOR THE IMPORTANCE OF THE NEWSPAPER
CHARACTER(BG BLURRED) FOR THE NEXT SHOT BIND WITH THE TICK TICK SOUND OF CLOCK
PAPER IS PARALLAL WITH BAROQUE DIAGONAL AND PEN WILL MOVE ALONG
COMP: CHAR WILL BE IN THE TRIANGLE OF THE DIAGONALS COMP: CHARACHER WILL SHIFTED A BIT LEFT TO CREATE THE NEWSPAPER THE DIAGONALPEN DIRECTION ON MIDDLE GOLDEN THIRD
THE SHOT WILL CONTINUE WITH A TRACKING SHOT TO THE LEFT TO SHOW THE ENDED UP IN THE MIDDLE THIRD OF THIE SCENE SINISTER AND BOROQUE* MAIN OBJ FOR THE SCENE
FULL HAND TAPPING ON THE TABLE, ELSE EVERYTHING WILL BE BLURRY CUT TO THE DETAIL FOR CREATING ROOM FOR NEWSPAPER
HAND IS POSITIONED ON THE FIRST THIRD OF THE SCENE AND ENDED UP
IN THE MIDDLE THIRD

FLOW 1 (sync with tik-tik) continuous shot will break intentionally

HEAD ROOM

WIPE TRANSITION
FOCUS SHIFTING HORIZONTAL WIPE INSERT SHOT
CUT OFF CLOSE UP

INSERT SHOT OF THE NEWSPAPER( SEMI EXTREME CLOSEUP KIND OF)

PLACED IN THE MIDDLE CLOSE TO BAROQUE DIAGONAL PICKS THE NEWSPAPER TO READ, TRACKING SHOT FROM TABLE TO HAND INSERT SHOT OF THE DETAIL WRITTEN IN THE NEWSPAPER
TRANSITION: CUTOFF FOR CLOSEUP(SHOULDER TO 2ND CAMERA FOCUS SHIFTED ON CLOCK
BACKLIT,
(BEHIND CLOCK))-CUTTING IN ACTION
PURPOSE: TO CLARIFY THAT THIS IS THE GAME CHANGER OBJECT OF THIS SCENE TRANSLUCENT(LIGHT PASS THROUGH THE SIDES AND CORNERS TO FEL THE
FOCUSES THE CLOCK ON HIS RIGHT BG SLIGHTLY LIT DOWN TO CREATE THE INTENSE AND FRAUSTRATION CHARACTER BG WILL BE LIT TO CREATE CONTRAST AND THE NEWSPAPER
FLOW 1 WAS BROKE TO INTENSIFY HIS INABILITIES, DULLNESS THICKNESS)
CLOCK REVEALING SHOT( MEDIUM CLOSEUP SHOT) (TIME IS RUNNING BUT HIS SHEETS ARE BLANK- TO CLARIFY THE RATIO) STAYS IN THE LOWER THIRD TO BE IGNORED FOR A SEC
FLOW 1 CONTINUES TO CLARIFY THAT HE IS TRYING, BROKE TO SHOW THAT VIEW OF THE NEWSPAPER
SYNCHRONIZING SOUND OF TIK-TIK EVEERYTHING ELSE CLOCK IS BLURRED A SUBTLE PUSH-IN ON JOHN'S EYES TO SIGNIFY HIS REALIZATION
CHARACTER IS FOCUSED, EVERYTHING ELSE IS BLURED NOTHING IS COMING OUT TO MAKE A CHANGE
CONTINUE FROM HERE...
COMP: CHARACTER IS POSITIONED IN THE UPPER THIRD FOCUL POINT
(INTERSECTING POINT)
CLOCK IS COVERING THE LEFT THIRDS 2/3

PART 2: JOHN'S INNER MONOLOGUE

CUTOFF TRANSITION
MEIDUM CLOSEUP
SHOT
INSERT SHOT TRACKING SHOT INSERT SHOT
WITH
MOTION BLUR

CUT OF TO CLOSEUP TRASH CAN MEDIUM SHOT INSERT SHOT ON NEWSPAPER HEADING TRACKING DOWN TO IMAGE
A DIMLY LIT TRASH CAN TO COMPARE IT WITH THE VOID( WHO IS CONSUMING PINDROP SILENT EMPHASIS THE UNLEASH YOU ..... RETREAT LINE WITH CATCH LIGHT( FORM OF EMPHASIS THE IMAGE( FORM OF
ALL HIS CREATIVITY) FOCUSING THE MOTIONLESS TRANQUIL EYE- CREATING A BOUND FEELING CATCH LIGHT) CATCH LIGHT)
STUCK AND ISOLATED ENV FOR VIEWER COMP: "UNLESAH..... MANOR" LINE PARALLAL WITH BAROQUE DIAGONAL COMP: IMAGE PARALLAL WITH BAROQUE DIAGONAL
COMP: CENTER COMPOSITION IN A 1.37:1 FRAME THIS SHOT WILL GO LONGER A BIT(TYPICAL MEDIUM SHOT) CENTER COMPOSITION CENTER COMPOSITION

ISOLATION VIEWERS VISION WITH THIS EMOTION(FRUSTRATION)

COMP:LEFT EYE(IILLUMINATED BY LIGHT) ON UPPER RIGHT FOCUL INTERSECTING

POINT
BACKGROUND BLUR, FACE DIMLY LETUP, HALF OF THE FACE IN SHADOW
WITH ARTIFICIAL LIGHT( DIVIDE, CAST SHADOW)

SINISTER DIAGONAL
CUTOF CLOSEUP

EXTREME DISSOLVE TRANSITION

INSERT SHOT CAMERA FIX
CLOSE UP
TRACKING SHOT SHOT

MEDIUM CLOSEUP SHOT STANDING UP TRACKING FROM CHAIR TO STANDING POSITION, EXTREMALLY CLOSEUP OF CLOCK HAND TRACKING SHOT TO APPROACHING THE TELEPHONE CLOSE UP SHOT- CAMERA FIX(STATIC SHOT)- HAND MOVEMENT(RANDOM
CREATING A SENSE OF URGENCY AND DECISION. DISTURBING CLOCK REVEALING SHOT WITH CENTER COMP AND HAND IS LETUP ONLY, REST IS IN DARK MOVEMENT)
ISOLATION VIEW READING NEWSPAPER(EMPHASIS THE IMPORTANCE OF THE BG BLUR INTENTIONALLY CUT THE UPPER AND LOWER DIGITS BG BLURRED KEYPAD DIALING SCENE, KEEP THE HAND IN BRTWEEN
HEADING OF THE PAPER MEDIUM CLOSEUP SHOT FOCUS ON THE CLOCK HANDS( SECONDS, MINUTE , HOUR) THE RIGHT THIRD( GOLDEN RIGHT THIRD)
COMP:FACE(HALF LIT UP) ON UPPER RIGHT FOCAL INTERSECTING REVEALING SHOT( START FROM A ALMOST FULL VIEW CLOCK TO FIX HAND ON RIGHT THIRD, TELEPHONE PERPENDICULAR
POINT HALF OF THE BODY LIT UP( LOWER HALF OF SINISTER DIAGONAL IN THIS POSITION) UPPER FACE OF TELEPHONE CATCHES REFLECTION
BACKGROUND BLUR, FACE DIMLY LETUP, HALF OF THE FACE IN SHADOW COMP: CENTER COMPO WITH FACE ON UPPER THIRD ( EYE ON UPPER THIRD LINE)
WITH ARTIFICIAL LIGHT( DIVIDE, CAST SHADOW)
ONLY EYE ILLUMINATED WITH CATCH LIGHT
DIALOGUE -

PART 3: THE PHONE CALL

EXTREME CLOSE UP SHOT

CUT OF CLOSEUP PAN AROUND CUT OF CLOSEUP CROSSFADE

EXTREMELY CLOSEUP SHOT OF SMILE MEDIUM CLOSEUP SHOT PAN AROUND UNTIL THE FACE IS IN SIDE VIEW OVER THE SHOULDER(OTS) SHOT JOHN ON LEFT THIRD LINE AND PHONE ON LEFT UPPER INTERSECTING POINT
LIPS AND NOSE BOTTOM, CHICKS ARE SLIGHTLY LIT UP CAMERA MOVEMENT JOHN HALF LIT UP
CREATE DYNAMICITY FOR EMPHASIZING THE MOOD CHANGE TELEPHONE INTERACTING SCENE FIDGETING THE PEN BG BLURED
BG BLURED, FACE ON 3/4TH OF THE SCENE FACE ON LEFT THIRD INTERSECTING POINTING HAND ON THE LEFT THIRD LINE, PEN IS IN THE UPPER LEFT INTERSECTING
REST IS VERY DARK TO CREATE A GOOD AMOUNT OF CONTRAST 1/3TH OF THE SCENE POINT( CLOSEST PARALLAL LINE WITH SINISTER DIAGONAL) A DISSOLVE TRANSITION (CROSSFADE) TO SMOOTHLY MOVE FROM ONE
BG BLURRED, CONTRAST WITH LIGHT AND COLOUR MOVEMENT CIRCULAR CLOSE-UP TO ANOTHER, SHOWING JOHN'S CONVERSATION
WITH THE BOOKING AGENT.

DOLLY SHOT

A DOLLY THAT GRADUALLY MOVES AWAY FROM JOHN JUMP CUT TO SHIFT FROM JOHN HANGING UP THE PHONE TO A WIDE SHOT OF
WHILE HE'S ON THE PHONE TO EMPHASIS A THE ROOM WITH INCREASED LIGHTING, SYMBOLIZING A CHANGE IN MOOD AND
CHANGE IN POSITION PERSPECTIVE ANTICIPATION.

DOLLY AWAY, ZOOM IN, KEEPING THE CHARACTER IN THE LEFT THIRD