Fase II: Diseño e implementación de un sistema domótico dirigido a un hogar de

to continually move from conventional single shot-storyboards to composite motion graphic storyboards. This was required because only one plate can be filmed at a time and I needed it as a means of communication with others during the shoot. I also needed to

communicate a sense of how it was all going to come together in the end. Ultimately, unlike a special effects film, it was not intended for one shot to end and the next to start. Shots were to weave together. Even in the workshop, the relationships between the images were difficult to manage. Working with a conventional script structure was not helping. As I storyboarded I began to consider how a motion graphic script could work. Conventional screenplays are written in 12-point Courier type (Cole and Haag, 2002). Scene headings depict interior or exterior, time of day and place, and only simple actions are written; usually those required for the story. Shot types are not included, characters’ names are centred and dialogue is indented. A conventional script is worked so that one page equals about one minute of action. Screenplays tend to be about 120 pages long. Motion graphic works tend to be unscripted; they are usually short. From my own work in motion graphics, my storyboards have always been very simple. Effects are not something easily drawn. Sometimes in practice I have found it easier to do quick tests to show a client rather than to try to draw graphic effects, although this varies depending on the task at hand.

I had a meeting with advertising continuity expert Clare Cunningham (personal communication, 21 June, 2010) who mapped out ways in which graphic layers have been dealt with in special effects shoots she has worked on. She showed me a system of how plate maps could be drawn, demonstrating how layers of plates were to work together. This was of some use but because special effects, although layered and complex, are (generally) put together through cuts, this system was not going to work particularly well with overlapping, woven-together streams of plates and layers.

Fig: 57. Visualisations for the titles for The Island of Dr Moreau (1996).

Through necessity, I began laying out my script in columns. This way I could see how my simultaneous actions could collide, link and diverge. I could also more easily consider the relationships between my three spheres. I also began colour coding simple action and location in black, dialogue in blue and effects in green. The challenges in making this screenplay work required consideration of how elements worked across the page, not just down it.

In Figure 58, down the page represents time. Generally each column represents a strand of narrative. Sometimes however, the green areas are describing effects that may tie elements together. The green type also describes the clock interface and it pulls layers of the narrative apart and brings them back together again. The grey arrows diagram in figure 58 describe the kinetic rythms between the shots lining up and diverging such as the tooting horn in one shot aligning with the bashing fish in the next and the clopping shoes in the third. The arrows on this page also point out juxtaposition between the fountain, the traffic jam and the tension rising in the kitchen. As the three cogs role into place toward the end of the page we get a sense of the whole form of the clock. Here we can also see the interaction between the characters. Although they are in separate scenes they interact with each other.

CU Background shot Benje Slam, slam, slam. .

EXT. FOUNTAIN - AFTERNOON

Thud, thud, thud. The short man has just

caught the fish and is bashing it to death

on the side of the fountain.

The short man stares left then right.

KITCHEN-HAND Listen, you flood this sink one more time and I'm outa here. I've wanted to quit for a long time but I was going to save to start a busi- ness, but I've got responsibilities, my old lady has a little kid, but

enough is..

BENJE

Well why don't you? I remember the day I left my job at the pet food factory. Sarah would’a been proud. It was the anniversary of the accident. Anyway, I packed my bag full of treats and good Kelton food. Aunty Gloria even

threw in a few bunnies.

Benje notices that the caterpillar is near the top of the jar, he picks it up and slams it down.

Slam, Slam, Slam.

INT. RESTAURANT - EVENING

Step, Step, step, a young woman in stilettos comes running up to the door of cafe Monarch, dumps down her bag and pulls out her keys and apron. She unlocks the door.

She turns and stares left to right

.

Sarah and Josh come up behind her. Sarah and Josh wander into the restaurant.

Sarah pulls up a chair and sits herself down. The waitress scuttles along behind her.

The camera moves in on the left cog.

We’re not quite ready to open yet.

EXT. TRAFFIC JAM - EVENING

Toot, toot, toot. Mr Cutten is stuck in the traffic

he mops his brow, furious!!!

Mr Cutten stares right then left.

Reading across the page describes simultaneous action or internal montage. Reading down the page describes sequential action.

character names and dialogue

effects and style specific actions scene headings and basic action explanation of how this script design works

KEY

This example (below green) of internal montage demonstrates subconscious interaction between characters appearing to react to each other when it is not possible for them to be aware of each other.

Kinetic rhythm of Benje slamming down the jar leads into the rhythms of the waitress heels, the fish being bashed against the fountain and Mr Cutten loosing his temper and slamming his horn. This demonstrates the subtext concerning the characters repeated entrapped behaviour.

parallelism parallelism

contrast _contrast

Three cogs roll into place simultaneity of whole form