Basic Sequence Exercise: The Wallet

(Assumed that students already have basic working knowledge of video camera operation, and are used to working in small groups.)

Pioneer filmmaker D.W. Griffith developed a simple formula for cutting shots together that kept the results from being confusing; he categorized three types of shots:

• The “wide” or Long Shot (LS) encompassed a wide field of view, and established the setting.
• The Medium Shot (MS) The Medium shot might be a full-length to a waist-length shot of a character displaying action or movement
• The Closeup (CU) The close-up fills the frame with the head and perhaps the shoulders, and emphasize facial expressions which reveal emotions

The categories have been slightly refined over the years to include:
• The Reverse Shot: A similar but symmetrical shot as in “Close-up of A” to “Close-up of B”
• The Cut-away: An informational shot needed for the narrative—may be subjective.

Griffith held that a filmmaker should never cut from a shot to a similar shot. There are just these types of shots, and one should always cut from one type to another.


Production teams are issued an open-ended storyboard:

Frame 1: Long Shot--down empty school hallway
Frame 2: Medium Shot--Subject walks around far corner and towards camera
Frame 3: Close-Up--Subject pauses, looks down at the floor
Frame 4: Cutaway--a bulging wallet is laying on the floor
Frame 5: Close-Up--subject looks all around
Frame 6: Long Shot--the hallway is empty
Frame 7: Cutaway--the wallet is right at his feet
Frame 8: Medium Shot--subject bends down and reaches for it . . .

Frames 9 - ?: Production teams complete the storyboard, utilizing elements of the Basic Sequence to present an authentic and engaging resolution of the scenario. Every shot must be labeled and sketched on the storyboard with dialog, effects, and so forth noted.

Teams have a specified time range (perhaps one period) to complete and submit storyboards, which are reviewed and returned. Groups with acceptable storyboards may procede to production, while ones lacking in some way must revise and resubmit their work.

Video editing can be specified as "in-camera" and "in-sequence" or at a workstation using video editing software. Final product should match storyboard shot for shot.

Variations: If visual storytelling is to be emphasized, the story could be required to be told without dialog, or completely without sound. For advanced classes, a very tight timetable for completion may be enforced, or a theme imposed (chose a word such as "reciprocity" or "rationalization").

Evaluation: A starting point for a rubric might be:
• Storyboard: All shots from frame 9 onwards are storyboarded; Each one is labeled (as LS/MS/CU/REVERSE/CUTAWAY) and numbered; No shot cuts to the same type of shot; Sequence extends narrative to a satisfactory conclusion.
• Production: Appropriate and acceptable composition/lighting/camera movement; clean, strong, consistent audio (if appropriate); believable and authentic performance by talent; appropriate choices in locations, props, wardrobe, etc.
• Post-production: clean, tight edits—appropriate cuts or transitions; effects are motivated, not “gimmicky”; edit follows storyboard; titles/credits/etc. are included but not obtrusive; recording begins with bars/tone and countdown; etc.