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01, 02, 03, 04, 05, 06, 07, 08,
09, 10, 11, 12, 13, 14, 15, 16,
17, 18, 19, 20, 21, 22, 23, 24,
25, 26, 27, 28, 29, 30, 31, 32,
33, 34, 35, 36, 37, 38, 39, 40,
41, 42, 43, 44, 45, 46, 47, 48,
49, 50, 51, 52, 53, 54, 55, 56.
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Here are some storyboards I did, over the course of one day. It's a low-key wordless scene from "Life of Pi," which has a lot going on under its seeming uneventfulness: Pi goes through a buttload of emotions because he's seeing land for the first time in months, and the island has a sinister quality as the reader discovers that it's not made of your traditional rock and soil. SO I wanted to get all that stuff in there, and keep the shots interesting without being too incomprehensible.
This sequence happens pretty late in the story so I assumed that the viewer of this hypothetical movie has already spent a lot of time with this boat, and would probably want to look at it from more novel angles. I wanted to open the sequence with a shot that shows how comfortable the boy and tiger have grown since they first met. In this shot, Pi and Richard Parker are both lying down facing each other, and they almost look like they're snuggling by the way the camera is angled. If this was an actual clip being viewed by a Life-of-Pi-newbie, the audio of the ocean lapping against the bow should be enough to cue viewers into thinking Pi and tiger are on a boat without having to begin with a wide shot.
It's also neat to think about how effective audio cues and color pallettes are in giving the viewer information that pure composition doesn't. This scene probably has a sort of "drumbeat" in the sound of the ocean waves (up until the boat beaches), which might influence how the shots are timed.
