Dissecting a Shot Sequence

 Before I filmed the final shot sequence of my film opening, I wanted to fully develop my sequence (I even made a full shot list for it with the specific depth-of-field that I wanted for each shot). This blog post will be more for me than anything, as I want to get prepared before I go out and film the last part of my project.  Collecting my thoughts beforehand might really help me. I also found inspiration from another film that uses that same sort of tone and has a scene that is sort-of similar, at least tonal and character-focus wise. 

These are my final, reworked shot lists for the last sequence of the film opening. I also matched up the dialogue with the certain shots so I wouldn't have to figure it out when filming, which is how it's usually done, but I almost forgot. I did have to change around some things, which is why they're not the neatest shot lists in the world, but they include a lot of information (even the specific depth of field that's needed in the shot). I start off with the close-up of the waves, and then the pan and tilt as Dallin runs through the waves, acting as a sort of transition from the introductory shots that show off the setting to the actual story with my main characters. The very next shot is going to be a low angle with the depth of field shallow until Dallin comes running into frame. Will be a focus on Maya as she comes running into frame. From there it will switch to a two-shot.There will be some shot/reverse shots as Dallin and Maya are talking. I've added some inserts, especially when there are pauses in the dialogue. I also have some close-ups of Maya's face to show her reactions to what Dallin says (sly comedy, I know). I will also add an eye-line match to show Maya's POV of her setting (the saturated colors another sign that this is from her POV, and shows how she sees this particular beach). 

This sequence will end with a tilt of the camera as Maya gets up. And will focus in on Dallin scrambling behind her. There will be a two-shot of them on the boardwalk, which will be another time to showcase my amazing setting. And then comes the ending shots, which I've already discussed (and partially filmed already). 

And now, a film I used for inspiration:

Minari (2020), directed by Isaac Lee Chung, is a movie that I got to watch fairly recently and I really loved it (highly recommend for anyone that loves dramedies). It has the dual-tone that is common among dramedies, and balances between the two tones really well. It really encapsulates the happy-sad movie.

This scene has no fast cutaways or editing. The shots remain static for a longer time, relying more on the movement and the dialogue of the characters. It really works well for this scene because it's the characters that are the focus (as well as the setting). There are a number of wide shots that capture the setting. However, they also serve to capture the characters, acting sometimes as sort of two-shots, to capture the similarities between the characters (the mom and the daughter; the dad and the son). It also serves as a contrast between the two pairs, as the dialogue suggests. It sets up the relationship between the characters (showing how close they are to each other) as well as setting up a potential conflict. I want to copy the longer shots, especially when my characters are speaking, the the humorous tone can be felt through the dialogue. I also included an eye-line match and some inserts so I can get some more two-shots (and show off more of my setting) as well as making the scene more captivating. I know how the movement of the objects within the shot can be captivating, as this scene shows, and I shouldn't be afraid of having shots that last a little longer so that my dialogue can be highlighted. It might add more of that sense of realism.