Blocking complicated scenes

Azmyth

Azmyth

Veteran
I'm trying to storyboard a scene, where a group of 6 actors are exploring a house and talking.

Its harder than it would seem. I'm almost of the mind to block it on set, so I can just have them walk through it vs. trying to sit here and calculate where everyone would be via storyboards. I always draw storyboards, but timing is a big factor here and although I'm familiar with the location.. I can't seem to draw what I see in my head in this sense. I know what shots I need to get.
 
Coming from stills I think of frames, key frames

Bascially photos that you want in your scene, image you could press pause on and get the story board..

For example you may have a shot where one actor is talking about another one, at that point in the 'ballet' you might want the second to frame up behind the first .. etc

Id break the scene into key moments, frame them and build the block from there?
 
An overhead would probably be most helpful here. Much easier to see where everyone is, draw some arrows for where they go, etc.
And that's usually enough, but if you really want storyboards or a shot list, the overhead would at least be a good place to start and make your storyboards from that.

If you think you got it all in your head, then you could probably get away with blocking it on set, but you may run into problems with crew not knowing what's going on. Sometimes this is fine, sometimes it's easier to say "We're moving to set-up 2" and have everyone just move there, without having to explain where everyone's going and what they're supposed to be doing.
 
I would block it on set but go into that process with a predertimend shotlist of key "points" that need visual / audio coverage.

eg need to see this, that or whatever and need to see the dialogue from whichever actors.

Then I would do coverage.

If its complex..have you a chance for rehearsal walk thrus prior the shoot.
 
I would certainly try and get some rehearsals in for this, if you are able. You could take photos at important points during the rehearsal as an aide memoir, or use them as part of a storyboard. The overhead sketch is also important here. They also help in planning complex lighting setups. Better to find a problem on paper or in rehearsal than on set.

I recently read an article that advocated using lego to block out scenes. I haven't tried that, but it could be worth a go! ;)
 
sonofaresiii said:
An overhead would probably be most helpful here. Much easier to see where everyone is, draw some arrows for where they go, etc.
And that's usually enough, but if you really want storyboards or a shot list, the overhead would at least be a good place to start and make your storyboards from that.
Click to expand...

Yeah, when I come across situations like this I just go all out overhead. Sometimes I don't even bother with the storyboard when it becomes this complex, just overhead.
 
Just for clarification, you are saying "storyboards"--but it sounds like you are talking about
blocking diagrams. Which are you asking about?
 
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