EMF 221.005
Fall 2008
SHOT OUTLINE
Assignment: 1) Shot Outline (minimum 6 shots-maximum 10 shots) for a 30-second commercial
or PSA.
Due by 1 p.m., Monday, November 24. 5 points off per day (not class) for projects submitted
late. Late deductions begin with projects submitted via email after 1 p.m. on November 24. No
Shot Outline accepted after 1 p.m. on Monday, December 1.
To prepare for a shoot, it’s common to draw up a storyboard. You’ve seen samples in class and
can find many additional versions online by using a Google “Images” search. Before attempting
this stage, it is generally helpful to produce a shot plan or shot outline. This usually means
including the “mise-en-scene” for each shot. This is a French term which roughly translates to
the arrangement of the shot (location, time of day, set, props, lighting, stage directions, and
dialogue/voiceover). In cinematography terms, it also includes the shot distance, height, angle,
level, motion and field of view.
You may find that rough sketches will help you plan the shots to verify that your written
descriptions match your visual intent. Once you have settled on the accuracy of these
descriptions, a more finished storyboard would be produced. You are not required to produce a
storyboard for this assignment.
To practice, it may be helpful to record a commercial and practice writing a shot outline for it.
However your submission must be original. Existing work will not be credited and the
assignment will earn a zero.
Consider some of the following questions in planning your shots:
Cinematography
Where is the camera positioned?
What is the size of the shot?
What is the field of view? (e.g. CU, LS, etc)
Does the camera move? (e.g. Pan, Tilt, Dolly, etc.)
Narrative
Whose point of view is used?
What information is revealed? Concealed?
What is the relationship(s) of the characters?
How do you effect spatial/temporal transitions?
Written Requirements:
Name, EMF221.005, November 24, 2008 and “Shot Outline” (single-spaced) in the upper
right-hand corner. Pages numbered in the lower right-hand corner as per this example.
1. Write a paragraph explaining your selection of this topic. How did you arrive at this
choice? Did any considerations change during the writing of the assignment? Did you
make any preliminary sketches? Why or why not? What have you learned or reaffirmed
about your understanding of commercials/PSAs? Any additional thoughts?
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Paragraph Formatting: 1” margins on all four sides. Times New Roman, 12-point font.
Double-spaced. This sheet is the correct font and displays the proper margins through the
first several paragraphs on page 1.
2. Write your Shot Outline per the sample below. Include a title for your commercial/PSA
(minimum 6 shots-maximum 10 shots). Number your shots.
Shot Outline Formatting: 1” margins on all four sides. Times New Roman. 12-point font.
Single-spaced. First line indent is set to .5”. Left tab stop is set to .75”. Download the Word
file from the website to note the exact positioning.
(Shot Outline—Sample)
JEALOUSY
1. Begin High angle MLS of CINDY and JOHN, two attractive graduate student
types, sipping wine at their kitchen table. The kitchen is clean but a bit
shabby—a rented apartment. Camera booms down and dollies in towards
Cindy as WALTER, a handsome young man, enters frame left and moves
towards Cindy.
2. MCU, over the shoulder shot from John’s point of view of Walter whispering
in Cindy’s ear (same kitchen location). Cindy smiles. JOHN (VO): “Is she
really flirting with Walter?”
3. MCU, over the shoulder shot from Cindy’s point of view of BECKY, a small,
cute young woman leaning over John’s shoulder and touching the nape of his
neck. CINDY (VO): “I can’t believe that Becky is hitting on John.”
4. Back to MLS of Cindy and John at the table. No one else is in the room.
5. High angle CU of John’s hands tightly gripping his wine glass.
6. Low angle CU of Cindy’s tightly pursed lips.
7. MS of Cindy and John looking away from each other. DOORBELL RINGS.
8. MLS of John greeting Walter and Becky at the door. Camera remains inside
the house looking at John’s back while exposing Walter and Becky through
the doorway. Walter is wearing a Dracula costume, with a shiny black cape
and fangs. Becky is dressed as a witch, with black, low-cut dress and a
witch’s hat. JOHN: “You guys look great. Come on in.” Dissolve to:
9. High angle MS of an empty Pacific Coast Pinot Noir wine bottle and glasses
on the living room coffee table.
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10. LS of John, Cindy, Becky and Walter in the living room. John wears a
Dumbledore wizard’s hat. Cindy carries a white wand with a star on top and
she wears Judy Garland ruby red slippers. The four friends are now excited
and happy, ready for a Halloween party. NARRATOR (VO): “Seeing things
this Halloween? Maybe it’s your wine. Pacific Coast Brand wines, when you
don’t have a scare in the world.” FADE OUT.
For further consideration:
According to Giannetti, Understanding Movies, a mise en scène analysis of any given
shot in a film should consider the following 15 elements:
1. Dominant--Where is our eye attracted first? Why?
2. Lighting Key--Is the lighting high or low key? High contrast? A combination?
3. Shot and camera proxemics--What type of shot? Camera distance?
4. Angle--Low? High? Oblique? Neutral?
5. Color values--What colors or hues are dominant? What is the color symbolism?
6. Lens/filter/stock--Are these used to distort or comment on the scene?
7. Subsidiary contrasts--What are the main eye-stops after the dominant?
8. Density--How much visual information is there? What is the texture?
9. Composition--How is the screen space segmented and organized?
10. Form--Open or closed? Window view or proscenium arch?
11. Framing--Tight or loose? Do the characters have room to move?
12. Depth--How many planes of depth are utilized? How do they interrelate?
13. Character placement--What part of the frame do the characters occupy?
14. Staging positions--How are they positioned in relation to the camera?
15. Character proxemics--How are they positioned in relation to each other?
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