Shot List

Having worked on previous projects shot lists and storyboards I only felt it was right that I worked closely with Tom Newsham the DOP for the film so that we could achieve the look I visualised. Having done some previous research into other films styles of cinematography and ideas of my own I had a vivid idea of what I wanted, I showed Tom films and examples of shooting styles before attempting to create the storyboards. We then set about breaking the film down and acting out the scenes to see what would work we also did test shots when drawing up the storyboards to get a feel for the way in which it would play out, doing this allowed Tom to clearly understand the desired aesthetic of 'Still in the Night'.





Scene 1

Camera tracks from outside doorway, in through door and down to the right to a CU of SUGAR

Scene 2

Steady pan from the right as estate pulls up next to SUGAR

Steady pan from the passengers seat framing SUGAR in the back of the car and the back of the CLIENT'S seat.

Static shot from the outside of the car looking in at SUGAR as the car drives the to hotel.

Scene 3

Slow motion following CLIENT leading SUGAR to hotel room. Shuts door, camera fades to black as we hit the door.

Track to the right from behind a curtain. SUGAR is getting undressed.

OTS of SUGAR getting undressed in front of CLIENT.

CU of CLIENT'S face looking her up and down.

LOW ANGLE tracks up her body from in front as she's dropping an item of clothing, up to her face. She looks uncomfortable.

Medium CU of dischevled bed sheets.

LOW ANGLE of the still dressed client sat in a chair watching SUGAR pleasure herself.

SLOW TRACKING in shot toward SUGAR'S face as she begins to pleasure herself sat against the curtains.

CU of SUGAR's upper body and face as she is lay on the bed, she looks shameful.

Heavily lit shot of SUGAR'S body, rays of light exposing into the lens.

CU of CLIENT's face as we see SUGAR's hands place a blind fold on him

OTS of SUGAR placing a blindfold on the client, she reaches for a knife out of her bag on the bedside table, TRACK up to her from a low angle, SUGAR holds the knife over her head, she thrusts the knife into the CLIENT.

POSPONE SHOT TO BUILD TENSION

Scene 4

Wide shot tracking up from the sink framing SUGAR staring into the mirror. She is distressed and breathing heavily.