Storyboarding

As cinematographer, I have a clear vision of the shots I would like to film for the final edit. Both Chris and I have similar ideas; these are the pictures of my storyboards. It includes close - ups of the violins, his hands and his face as he concentrates on restoring a violin. In addition, I also use interview set - ups.

As you can see from these storyboards, I'm no artist in the drawing department, but they will help when it comes to our day of filming. Chris (our director) has looked over them and is happy with what I would like the documentary to look like. I would really like to focus on the candlelit sequence because it encapsulates the persona of Michael and his work ethic; refusing to use electrical machinery so he sticks to the style of Antoni Stradivari. Hopefully we will be able to capture the candlelit scenes without a graininess being added to the quality of the image. Ideally I would like to avoid using any artificial lighting to capture the candlelit scenes without any graininess, however, if it is necessary then we will. Other than this possible problem, I don't think we will come across any others as I have booked the camera equipment out before we go on our Liverpool trip so I can practice with the levels/aperture etc. We are all ensuring that we are prepared for the trip in order to prevent possible problems when we're there and to make sure we make the most of our time with Michael Phoenix and appear professional.