Transcendence Shot List

Scene 1 The Apartment 1. Long tracking shot. The shot tracks across the desk and past the window, making sure to aim focus on the various objects and elements of the room we want to highlight and link in later. It then tracks across the bed and round to the door where Sarah will walk into frame, the camera will pause for a second so she can deliver her line then it continues round the corner to the hall just in time for Mark to walk in the door. The shot ends as Mark enters the kitchen which is to his right (audiences left).

2. Mid shot In the shot we see more dialogue between the characters, it can be a static shot facing the doorway, allowing Sarah to block the entrance and Mark to be moving around in the foreground.

3. Close-up This will be facing Mark as he tries to get past Sarah. The shot should be over her shoulder so the audience can see her reaction.

4. Mid shot This shot is an opposite to the end of the tracking shot, facing the back wall as opposed to the front door, Sarah is in the foreground and Mark stops to respond in a harsh tone.

5. Mid shot This shot will be from inside the bedroom, facing the door. Mark will walk in followed by his sister and their argument will escalate. 6. Close-up A close up of Sarah as she puts on a scarf and says he goodbye. She then leaves and the camera pans to show her exit. The shot holds until we hear the front door slam although it is out of shot.

7. OTS shot An over the shoulder shot of Mark as he looks at the contents of his parcel. The drugs. He then moves his hand up and gulps the blotter before looking into the mirror opposite. If we are clever we can organise this so that the camera moves up with his head yet is not seen in the reflection.

8. Close- up Close-up on the blotter reveals the image of a soviet star. To but cut into shot 8 before he drops it.

9. Static focus pull. Here we see the postcard in the foreground which is in focus until it shifts to focus on the book in the background. I would like the camera resting on the desk for this shot which should end with Marks hand picking the book up.

10.

Mid shot

Doing the last shot in that way will allow us to then place the camera on the desk where book was resting so that it faces the book in Marks hand. He then turns and flops on his bed to begin reading.

11.

POV shot 1

This is a highly technical shot consisting of Marks perspective as he reads the book, we want to keep the book in a fixed position filling the screen so we can transition to the new trippy room layout.

12.

POV shot 2

This is the same shot as before, however when Mark moves the book, the room is dramatically different highlighting the fact that he is now high as hell. Depending on how we feel here we can zoom the camera toward the window to allow us to transition to the stars and other visuals.

Scene 2 The Dream Building 13. Wide Pan shot

Here is the establishing shot for this scene, Mark will wake in the middle of the room and the camera will pan, following his movement as he explores the room. When he hears the voice and Mark lurches into action, the camera will follow him as steady as possible. If this does not work effectively we can break up the shot but Id like to try this. We can choreograph this shot to allow the cosmonaut to rush past the camera adding to the tension of the scene.

14.

High angle shot

Here Id like to cut from the previous shout when Mark reaches the stairs. Then we can cut to the top and film him looking up and slowly ascending.

15.

OTS shot

Id like then to move to a OTS shot so that the audience can have the writing on the far wall revealed to them just as Mark reaches the top of the stairs. If were feeling particularly avant-garde we can attempt Mark running toward the writing whilst the camera slowly tracks around him until he is in front of us. This will be a nice way to reveal the cosmonaut behind him.

16.

Mid shot

Here dialogue between the two commences, I thought of having a shot from the side of them so that we can see they are looking at each other from a distance.

17. 18. 19. 20.

Close-up Close-up Close-up Close-up

Cosmonaut 1 Mark 1 Cosmonaut 2 Mark 2

These shots require little explanation; refer to the script for each line of dialogue. During the last close-up of Mark he moves forward toward the Cosmonaut.

21.

Mid shot

This shot is the same as the previous mid shot, this time Mark is closer but there is still some distance between them. Mark looks cautious.

22. 23.

Close-up Mark 3 Close-up Cosmonaut 3

These are more dialogue shots.

24.

Mid shot

This is another of those mid shots to show the cosmonaut holding out his arm. Mark hesitates but then takes hold of it.

25.

Close-up Mark 4

Shows Mark looking at the hand and hesitating. To be cut into the previous shot.

26.

Close-up Cosmonaut 4

This is the final shot in which the surroundings go white. This is a straight up shot of the cosmonaut, in order to transition it with a close up of Sarah when they reach the next scene.

Scene 3 The White Abyss 27. 28. Close-up of Cosmonaut Close-up of Sarah

These two shots should meld together to show the cosmonaut transitioning into Sarah.

29.

Mid shot

Similar to the shots before, I want to show the two siblings holding hands and then have Sarah run off and Mark chasing after.

30.

Long shot

Here I want to show Mark running into shot from a foggy background, he is searching for Sarah. He stops when he reaches mid-range and the hallucinations and voices start, the camera follows him down as he falls to his knees. Here Id like to zoom in on Mark a little and have him cowering and trying to block it all out. This could be a long take as we want to get it really right here.

31.

Long shot

Here I would like to have just blank white space in this shot to cut in when Mark looks around frantically. It could act as if it was POV.

Scene 4 Hospital Corridor. 32. Long tracking shot

Here is the final shot of the film, the camera tracks up the corridor slowly toward Sarah who turns and looks past the camera. Credits Roll.