Sea grass impacts: sea grass, sea bottom, wastewater plant, water discharge Underwater shots, lots, medium and close – interactions and head shotsĮstablish connections between manatees and threats or solutionsĬonnecting shots between manatees and various characters and hostīoat propellers: boats, engines, docks, wakes, wheels, boat related stuff & actionįishing lines: people fishing, reels, rods, hooks, lures, casting, baitingĪffluent community discharge: facility, pipes, current, foam, water interface, fence, hand opening big valves, underwater interfaceĬoastal climate change: sun, moon, steam, smokestacks, electric lines Similar shots to those of characters during host’s discovery and interviews. HostĬreative “action building” sequences of host getting to opening scene: arrives in car, unloads gear, takes off to meet expert, puts on gear to snorkel with manatee researcher.Įnd action sequence to pose “big question”īridge shots: between segments at locations with action wrap one segment and provide lead to next scene or event Places and things related to characters: boats, buildings, co-workers, laboratories, facilities, and agency buildings.Ĭlose-ups of characters faces in thought, looking, working, interacting, reacting, hands in action, feet moving, picking up and putting down things relative to the action within the story. Manatees in relation to their environment including the threats they face and possible solutions to these threats. Wide and close shots of action that supports their stories and their interaction with other characters. (More on framing and shooting your experts during production.)Ĭharacters in action, doing their thing.
Only the host should look at and interact with the camera. Interviews of characters: Have experts and characters look “off camera” during their interviews. Water, waves, beaches, coastlines, canals, pelicans, seagulls, lively elements of settings (from big stuff to fiddler crabs) Characters (not your host) Connect people, manatees, and action with settings. Static shots, wide angle, of settings that connect foreground elements with background elements that show your story. Medium, close elements of above noted settings above that help tell story Wide shots of towns, water treatments, boat harbors, discharge outlets, manatee advocacy group headquarters, Department of Tourism offices, clearwater springs, research centers Here’s an example shot list for our manatee film: SettingĮstablishing shots: Aerial views of the Florida coast (flyover), Google Earth, maps, NASA imagery
Plan on shooting a lot more cover footage than you think you’ll need to show your story.
#Shots heads will roll full#
If you don’t shoot enough of this type of footage, you will end up with a film full of talking heads that will lull your audience to sleep. In addition to these primary shots, you also need to consider getting “B-roll” or cover footage: supporting footage of settings, characters, and action that help tell the story. Think about the images you need to tell your story, and flesh out a list of shots to portray each part. The good news is that your shot list is easy to develop when you consider your list of characters, settings, and story outline. A detailed shot list can be a very helpful tool. That’s why many producers use a combination of relying on their experience along with a story outline to help them record all the footage they need. They may get all the various shots they need to tell a compelling story by simply pointing their camera and pressing record, but they may miss some vital shots. Some experienced producers like to shoot from the hip without a shoot list.
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