TFACS Shotlist

	A	B	C	D	E	F	G	H	I
1	-	DIRECTOR Arabella Sharkey PRODUCER Peter Chung Henry Hwang	DP Kevin Feng PD Alicia Liu Vicky Mezquitas	1ST AC Ava Waldman (3/1-3/2) Tim Moon (3/3-3/6) GAFFER Jimmy Chey (F)		TRUTH OF A CORPORATE SELLOUT NYU Advanced Narrative	CAMERA SPEC Arri Alexa Mini LENS SET Arri/Zeiss Master Prime (16mm, 32mm, 65mm) Laowa Promo (24mm)	RECORDING SPEC 4K UHD 1.78:1 ASPECT RATIO 2:1	MASTER
2	#	SHOT	MOVEMENT	ANGLE	EQ	DESCRIPTION	FRAMING		NOTES
3	INT. RESTAURANT - NIGHT
4	1A	CU	Tilt	GL	None	OPHELIA starts recording on phone and tucks it into her purse.
5	1B	WS	Static	EL	None	Master: GREG and OPHELIA seated.			Position table midground. Get lower to get some tables in the foreground too.
6	1C	MS	Static	EL	None	OPHELIA coverage.			little eye room probably the reverse of this, have her on frame right looking frame right.
7	1D	MS	Static	EL	None	GREG coverage.			Just reverse of the 1C
8	1E	CU—>MS	Dolly Out	LOW	Dolly	Dolly out from Greg's notebook to his coverage.
9	1F	OTS	Static	EL	None	LEWIS in the back.
10	1AA	ECU	Static	EL	None	Insert of food, mouth chewing and talking, and forks tapping, and cleaning of glass.
11	INT. JANICE OFFICE - DAY
12	2A	CU—>MS	Dolly Out	Low	Dolly	Dolly out from JANICE stopping the iPhone to her reaction.
13	2B	MS	Static	High	None	OPHELIA's coverage.
14	2C	MCU	Static	Eye Level	None	OPHELIA looking at the fish.
15	2D	WS	Static	High	None	Wide of Janice's office.
16	2AA	CU	Static	Eye Level	None	The goldfish in its bowl.
17	2AB	CU	Static	Eye Level	None	Goldfish's POV of OPHELIA.
18	INT. CUBICLE - NIGHT
19	3A	WS	Static	HIGH	None	We see rows of cubicles. OPHELIA is alone in her cubicle.
20	3B	CU	Static	Eye Level	None	OPHELIA looks to the foreground. We rack focus to the book.
21	3C	MWS	Static	Eye Level	None	The cubicle walls start to close in on OPHELIA.
22	3D	WS	Tracking	Eye Level	Dolly	We follow OPHELIA down the hall.
23	3AA	CU	Static	High	None	Ophelia scrolling through dating apps.
24	INT. JANICE'S OFFICE - NIGHT
25	4A	WS	Static	EL	None	LEWIS' feet on the table. OPHELIA walks into the office. OPHELIA walks into a MS. Takes the glass.
26	4B	MS	Static	EL	None	LEWIS pouring a shot.			Tighter than reference.
27	4C	WS	Static	EL	None	LEWIS walks over to OPHELIA's side. The two look at the goldfish. OPHELIA drinks from the glass.
28	4D	MCU	Static	EL	None	OPHELIA looking at the fish. LEWIS behind the fish bowl.
29	INT. GALLERY - NIGHT
30	5A	MWS	Static	EL	None	OPHELIA silhouetted against the painting.
31	5B	WS	Static	EL	None	LEWIS walks in and join OPHELIA.			First coverage of Ophelia, it's pretty open
32	5C	OTS	Static	EL	None	LEWIS coverage. He takes out the tweezer.			Second coverage of Ophelia, now we bring Lewis more present in the frame + the paintings now create a composition that traps her
33	5D	OTS	Static	EL	None	OPHELIA coverage. She uses the tweezer.			We're flipping the 180 here, she finally acts and somewhat breaks away from the trap
34	5E	WS	Static	HIGH	None	LEWIS and OPHELIA wide shot.			Let's reinforce that idea of openness. Now we are giving her room to breath.
35	5F	CU	Static	EL	None	OPHELIA reaction to the painting.
36	5AA	ECU	Static	EL	None	Tweezer insert. The painting.			Macro. Ferris Bueller
37	INT. RESTAURANT - NIGHT
38	6A	ECU	Static	High	None	iPhone recording in Ophelia's purse.			macro shot inside purse
39	6B	MS	Static	Eye Level	None	OPHELIA coverage.
40	6C	MS	Static	Eye Level	None	MATT coverage.
41	6D	MCU	Static	Low	None	OPHELIA looking down at the fork/tweezer.
42	6E	ECU	Static	High	None	Fork turning into tweezer.			macro
43	6F	CU	Static	Ground Level	None	Badge falling.			macro
44	6G	MWS	Tilt	Low	None	LEWIS picking up badge and joining OPHELIA at the booth.			Profile
45	6H	MS	Static	Eye Level	None	OPHELIA coverage while talking to Lewis.			Push to frame left, little eye room let's decide on which side Ophelia sits
46	INT. JANICE'S OFFICE - DAY
47	7A	MWS	Static	Eye Level	None	JANICE flipping through pages.
48	7B	MS	Static	High	None	OPHELIA watching nervously.
49	7C	MS —> CU	Tracking	Eye Level	Dolly	Start on bowl, we see OPHELIA's face warped. Swivel into close up, from profile MS to frontal CU Therapist Scene from BEEF			Flip the angle.
50	7D	WS	Static	High	None	We see the two from the back.
51	7E	ECU	Static	Eye Level	None	Goldfish staring at us.
52	INT. CUBICLE - DAY
53	8A	MCU	Tracking	Eye Level	None	Snorricam, following OPHELIA holding her box.
54	8B	WS	Static	Eye Level	None	OPHELIA goes in her cubicle. LEWIS sits there, waiting.
55	8C	MWS	Tracking	Eye Level	None	OPHELIA arguing with LEWIS (OTS) LEWIS goes to background, trying to get out, OPHELIA in foreground, blocking the way LEWIS walks out of frame past camera OPHELIA follows, we land on her MS
56	INT. BATHROOM - NIGHT
57	9A	MWS	Handheld	Eye Level	None	We follow OPHELIA as she comes in the bathroom.
58	9B	WS	Static	High	None	The bathroom is empty. OPHELIA stops by the sink.
59	9C	MS	Static	Eye Level	None	OPHELIA looks down the sink.
60	9D	ECU	Static	Low	None	The tweezer.
61	INT. JANICE'S OFFICE - MORNING
62	10A	ECU	Static	Low	None	The tweezer (match cut) in the fishing bowl.
63	10B	CU	Tracking	Eye Level	None	JANICE's morning routine, breakfast and spiking her coffee. She flicks a gold spec off her desk. Pan over to frame left to reveal fish bowl.
64	10C	CU	Static	High	None	JANICE's reaction. Her attention now fully on the email.
65	10AA	ECU	Static	Eye Level	None	Insert of computer screen.
66	INT. GREG'S APARTMENT - NIGHT
67	11A	ECU	Static	LOW	None	iPhone recording. Someone stops it.			macro
68	11B	MS	Pan	EL	None	OPHELIA looks up after stopping the recording.
69	11C	MS	Pan	EL	None	Start on the items, OPHELIA grabs them and walks away to a WS. We pan over to reveal GREG.
70	EXT. LAKE - DAY
71	12A	MS	Tracking	EL	None	OPHELIA lets go of the goldfish.
72	12B	WS	Dolly Out	GL	Dolly	LEWIS watching OPHELIA from afar. OPHELIA alone.
73	12C					OPHELIA smiles. Skyline in back.