The previous methods dealt with the different aspects of possible visualisation of the film projected on the screen. But situations can occur which demand us to concentrate on the territory that is not on the screen. Let us imagine a scene where we have to follow several characters, who enter and exit the field of view multiple times and are in constant movement along with the camera in one long take. Is the motion of the camera with the set speed possible? Can the actors move in the preconceived pace, if we do not have the possibility of cutting or if we do not want to use it. The so-called habitrail film allows the documentation of the plot and the movements of the crew simultaneously. Thus this method of preproduction does not focus on the visible frame, but on real time and technical execution. The camera-movement analysis has other advantages too. By documenting the path of the camera we can excise the almost finalized segments of the visible territory, which allows us to estimate the actual size of the set and its range of visibility. If we connect the habitrail film to the 3D storyboard, we can compare the versions of a shot that make the dramaturgy stronger or weaker with their actual costs. Although the development of a camera-movement analysis is expensive and time consuming, in some cases it makes the testing of the most cost-effective solutions possible.

  concept art
storyboard with cinematic elements
camera-movement analysis
'brave new world project'
kamen anev copyright 2010