Lisbon square, duskMarrow Films · “Salt Lines”
142 shots. Zero shoots.
Every frame below came out of a prompt, a reference and a camera brief. Open a shot to read exactly what was typed. Nothing here was touched in After Effects.
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City, nightMarrow Films · “Salt Lines”
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Ines, close-upMarrow Films · “Salt Lines”
“Salt Lines”, Sc. 12 — the whole scene.
Wide — the squareDolly in, 35 mm. Establishes the coat, the rain, the hour.
Medium — the awningTruck right, 50 mm. Same coat, same light, 40 metres on.
Close — the windowRack focus, 85 mm. Rain on glass to her eyes. Identity 98.4.
Wide — the cityCrane up, 24 mm. She is a dot by the end of the move.
Four shots. One afternoon. 96 credits.
See what credits costBrief it like a DP.
The best Kinema prompts read like a shot list. Subject, light, lens, move — in that order. Adjectives last, if at all.
Who, doing what.
“A woman in a terracotta coat crosses a wet square.” Concrete nouns. One verb. Kinema Faces fills in the who if a character is attached.
A woman in a terracotta coat crosses a wet square
Where the sun is.
“Dusk, tungsten street light, light rain.” Light is the thing the model is best at — give it a time of day and a source, and it will keep both across shots.
at dusk, tungsten street light, light rain
How the camera behaves.
“35 mm, slow dolly in.” Or skip the words and set it in the properties panel — the prompt and the panel are the same object.
35 mm, slow dolly in
The next shot in here could be yours.
Every plan can submit to the public gallery. We feature twelve shots a week and credit the maker.