Victim of the Mind Shot Breakdown
20 CAMDEN ROAD SHOTS- 5/10/12- EVENING
Shot-0 – Fade in
Shot 1- Television static, dim in brightness
Shot 2- Extreme close up of Jenny's feet the lighting needs to be dim enough to make the room feel dark and cold but light enough so that her feet can clearly by seen.
Shot 3- Television static
Shot 4- same as shot 2 but with Jenny's ankle and leg being the focus of the shot.
Shot 5- Television Static
Shot 6- Same as shot 2 with her left shoulder being the focus of the shot
Shot 7- Television static
Shot 8- Same as shot 2 with her right shoulder being the focus of the shot.
Shot 9- Television Static
Shot 10- Same as shot 2 with Jenny's nails being the focus of the shot.
Shot 11- Television Static
Shot 12- Same as shot 2 but with Jenny's hair being the focus of the shot.
Shot 13- Same as shot 2 but with Jenny's lips being the main focus
Shot 14- Same as shot 2 but with Jenny's nose and cheeks being the main focus.
Shot 15- Extreme close up of Jenny's eyes there should be a strip of diagonal light that crosses over her eyes it should look as though that diagonal strip of light is the only source of light in the room.
Shot 16- Medium close up it should become clear at this point that the light is in a diagonal strip and that Jenny has her back to an unpainted and un-wallpapered wall where her eyes are smoky and she looks uptight but with a certain disregard for her own well-being.
Shot 17- This shot illustrates the fact that Jenny is sitting by an unlit fireplace that is painted white around the edges yet is hollow and black in the centre, on the mantel piece is only a huge portrait of a girl and a vase of wide flowers. She is surrounded by old books that look out of date and also uncared for they are placed in such a way that they seem to crowd her and she sees them as both a source of protection and frustration.
Shot 18- Jenny carelessly moves the books as if not particularly interested in the task at hand she stops on one old book that has a broken spine and seems as though it was made in Victorian times, she opens the book and starts to read then flicks through the pages and discards the book in a half-hearted attempt to appear angry. She rests her head in to the side of the fireplace and then throws her head in to her hands as if she is crying but she remains somewhat motionless.
Shot 19- The camera moves with Jenny as she slowly gets up off of the floor and walks toward the mantel piece she places her index finger on the corner closest to her and begins to trace the edge of the mantel piece until she reaches the vase at the end of opposite side (at which point you realise that she is in a bedroom and that the bed is messy and looks unclean.) She gently begins to stroke the stem of one of the flowers and as if they make her peaceful but then she stops there is a pause where Jenny is just motionless and then she throws the vase on to the floor and it smashes.
Shot 20- The vase falling in slow motion where you can see every aspect of the fall and smash of the vase of flowers.
Shot 21- The doorway is in the centre of the shot and there is a flash of white across the door. The lighting on the corridor is dim.
Shot 22- Jenny is still by the broken vase she turns sharply to see the flash pass the door.
Shot 23- Jenny walks slowly around the room, past the bed in to the near pitch black corridor the camera tracks her movements the whole time you see the door at the end of the corridor just close and Jenny walks toward it and the camera zooms in to her back.
Shot 24- Jenny is once again crouching by the fireplace however she still has a rose in her hand the room is much brighter and there is a small fire burning in the fireplace, the camera tracks her to see her going to the dresser taking out a vase and placing the rose in it.
Shot 25- Long shot of Jenny Standing by the fireplace and admiring the rose.
Shot 26- Close up of the rose, fade out.
VICTIM OF THE MIND- BREAKDOWN
BRECON BEACONS- 6/10/12- MORNING-AFTERNOON
Shot 41- Wide shot at the waterfall Jenny is on the right hand side of the waterfall and Amy is on the right the lighting needs to be bright and natural. This shot needs to be taken in many ways:
- With Jenny on the right and no one on the left
- With both Amy on the left and Jenny on the right
- With Amy on the left and no one on the right.
Shot 42- See above
Shot 37- P.O.V of Amy from the ridge the tree should be seen in the right hand side of the shot and Jenny should be seen in the centre and the base of the shot representing the height and distance that is still between them, the lighting should be natural.
Shot 38- P.O.V of Jenny looking at the water and then the camera pans to show Amy standing on the ridge, the lighting is natural.
Shot 39- over the shoulder shot of Amy looking at Jenny and Jenny looking back, this shot is kept as Amy moves towards the left and from below you can see that Jenny is following, the lighting is natural.
Shot 40- Taken from a long distance you see Amy and Jenny walking in the same direction Amy looks directly ahead but Jenny looks at Amy.
Shot 43- Jenny follows Amy down a path that is not very clear you see Amy turn round a corner and Jenny speeds up to follow when Jenny turns round the corner the shot ends.
Shot 44- Amy walks past the centre to the far left of the shot they are on an area of flat land that the beacons surround. Walks to the right of the frame and stops. Amy turns to look and Jenny, there is a pause and then in unison the two walk to meet each other in the middle. Browned leaves begin to engulf them and create an area to themselves.
Shot 45- The camera begins to circle around Jenny and Amy, Amy's focus is Jenny but Jenny's focus is the leaves.
Shot 46- P.O.V. of jenny looking at the leaves, natural lighting the camera tilts to see Amy handing her a rose that is in bud.
Shot 47- P.O.V of Amy watching Jenny smell an open rose, natural lighting Jenny closes her eyes and fade out.
Shot 34- Long shot Jenny is on a slope surrounded by hills she turns to look around her but slowly as if breathing in her surroundings rather than being shocked by them. Natural lighting.
Shot 35- Jenny walks in a direction purposefully as if knowing where she is going the camera tracks this movement.
Shot 36- Jenny reaches a stream and crouches by a particular spot and starts to trail her fingers in the water.
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