Five Senses — storyboard

WIDE SHOT taken from HIGH ACROSS THE ROOM at standing height, the camera looking noticeably DOWN at her from above seated level and far enough back that the floor, both side walls and the whole room are visible. She is SMALL in the frame, well under half its height, with a lot of room and floor around her — this is an establishing wide, NOT a head-on eye-level shot and NOT a portrait. her own lived-in city apartment — the low dark-wood Korean chest with brass corner fittings, its celadon bowl and framed family photographs, a PALE GREY cardigan over the back of the second plain wooden chair, a low stool with folded cream blankets, the tall window onto the brick building opposite. Bare pale wood floor, no rug and no carpet. Soft afternoon daylight. No table. An older Korean woman with short soft grey hair in a soft charcoal grey linen top and grey trousers, barefoot, walks slowly into frame and sits down on her own low-backed chair, the one with a soft grey seat and wooden arms. Beside it stands the second chair, a plain wooden one, with the pale grey cardigan hanging over its back. Camera completely static.

MEDIUM SHOT with the camera directly in front of her at seated eye level, about six feet away. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms, facing the camera square. She lets both hands come together in her lap and settles back very slightly. Her head stays facing FORWARD throughout and does not turn to either side; she does not nod. Her eyes stay lowered and soft. her own lived-in city apartment — the low dark-wood Korean chest with brass corner fittings, its celadon bowl and framed family photographs, a PALE GREY cardigan over the back of the second plain wooden chair, a low stool with folded cream blankets, the tall window onto the brick building opposite. Bare pale wood floor, no rug and no carpet. Soft afternoon daylight. No table. Camera completely static.

EXTREME TIGHT PROFILE SHOT, shot on a long lens wide open. The CAMERA is very close in at her RIGHT side and frames ONLY HER FACE AND THE TOP OF ONE SHOULDER — her head fills most of the frame, seen cleanly from the side. ⚠️ The background is a COMPLETELY UNREADABLE WASH of soft colour and light: no chair, no window, no picture frames, no bowl, no furniture edge and no wall corner is identifiable anywhere in it. ⚠️ She has NOT moved and HER CHAIR HAS NOT TURNED — she sits facing the same direction as in every other shot; only the camera has moved. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms. She breathes out once through her nose and her shoulders drop and settle. Soft afternoon daylight across her face. Camera completely static.

MEDIUM THREE-QUARTER SHOT with the camera in FRONT of her and slightly to her RIGHT at seated eye level, soft daylight reaching her from the tall window off-frame to the LEFT. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms, turned toward the camera side of the room so her whole face is clearly visible. She lifts her gaze unhurriedly toward the window light, eyes open and calm. her own lived-in city apartment — the low dark-wood Korean chest with brass corner fittings, its celadon bowl and framed family photographs, a PALE GREY cardigan over the back of the second plain wooden chair, a low stool with folded cream blankets, the tall window onto the brick building opposite. Bare pale wood floor, no rug and no carpet. Soft afternoon daylight. No table. Camera completely static.

WIDE SHOT with the camera directly in front of her at SEATED EYE LEVEL, far enough back that her head, her whole body, her bare feet, the chair legs and the pale wood floor are all inside the frame together. Her face is fully visible with clear empty space above her head; her head is NOT cropped. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms. She rests both hands open on her knees and is still, breathing once. ⚠️ She does NOT shift, settle, adjust herself or square herself in the chair here — Jeff does not say 'settle into a chair' until the NEXT shot, and the picture must not pre-empt him (Craig, 8/9). her own lived-in city apartment — the low dark-wood Korean chest with brass corner fittings, its celadon bowl and framed family photographs, a PALE GREY cardigan over the back of the second plain wooden chair, a low stool with folded cream blankets, the tall window onto the brick building opposite. Bare pale wood floor, no rug and no carpet. Soft afternoon daylight. No table. Camera completely static.

WIDE SHOT taken from an interior doorway so that the edge of the door frame darkens the left of the picture and she is small and centred beyond it. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms. She squares herself in the chair and goes quiet. her own lived-in city apartment — the low dark-wood Korean chest with brass corner fittings, its celadon bowl and framed family photographs, a PALE GREY cardigan over the back of the second plain wooden chair, a low stool with folded cream blankets, the tall window onto the brick building opposite. Bare pale wood floor, no rug and no carpet. Soft afternoon daylight. No table. Camera completely static.

MEDIUM SHOT with the camera straight in front of her, slightly BELOW seated eye level so she reads a little taller in frame. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms, facing the same direction as in every other shot. She rolls her shoulders back once and lengthens her spine, sitting up tall. Her body does NOT rotate or twist in the chair at any point, she does not turn to look off to one side, and she does not nod. her own lived-in city apartment — the low dark-wood Korean chest with brass corner fittings, its celadon bowl and framed family photographs, a PALE GREY cardigan over the back of the second plain wooden chair, a low stool with folded cream blankets, the tall window onto the brick building opposite. Bare pale wood floor, no rug and no carpet. Soft afternoon daylight. No table. Camera completely static.

HIGH SHOT with the camera above and just behind her RIGHT shoulder, angled down so that BOTH her face and both hands resting in her lap are clearly in frame together. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms. She turns both hands over so the palms face upward, and lets them settle. her own lived-in city apartment — the low dark-wood Korean chest with brass corner fittings, its celadon bowl and framed family photographs, a PALE GREY cardigan over the back of the second plain wooden chair, a low stool with folded cream blankets, the tall window onto the brick building opposite. Bare pale wood floor, no rug and no carpet. Soft afternoon daylight. No table. Camera completely static.

CLOSE SHOT with the camera straight in front of her at eye level, head and shoulders filling the frame. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms. She takes one slow visible breath in through her nose and lets it out through her mouth, her chest rising and falling once. Her eyes are open and lowered. Soft even daylight across her face. Camera completely static.

EXTREME TIGHT PROFILE SHOT, shot on a long lens wide open. The CAMERA is very close in at her LEFT side and frames ONLY HER FACE AND THE TOP OF ONE SHOULDER — her head fills most of the frame, seen cleanly from the side. ⚠️ The background is a COMPLETELY UNREADABLE WASH of soft colour and light: no chair, no window, no picture frames, no bowl, no furniture edge and no wall corner is identifiable anywhere in it. ⚠️ She has NOT moved and HER CHAIR HAS NOT TURNED — she sits facing the same direction as in every other shot; only the camera has moved. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms. She breathes in slowly through her nose and her chest rises and settles once. Her eyes stay lowered. Soft afternoon daylight across her face. Camera completely static.

CLOSE SHOT with the camera in front of her and slightly to her RIGHT, a little above eye level, framing her face and shoulders. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms. Her eyes close gently and stay closed, and her face settles. Nothing else moves. Soft even daylight. Camera completely static.

Looking out through a tall apartment window from inside a quiet lived-in room, a houseplant on the sill in the corner of frame. Directly across the street, close and clearly visible and correctly exposed, is the PLAIN FLAT BRICK facade of an ordinary American walk-up apartment building: simple rectangular sash windows, plain stone sills, a black iron fire escape. Soft afternoon light. A light curtain at the frame edge moves very slightly in the air. Balanced natural exposure, the view outside NOT blown out or white. Static camera, medium wide. No arched windows, no ornate carved stonework, no balconies, no palazzo, no European architecture. No people, no text.

The brick and stone facade of the building directly opposite, seen from a window across the street: rows of ordinary windows, stone sills, a fire escape, a plain parapet against pale sky. Soft afternoon light. Everything still except a wire and a thin line of washing moving very slightly in the air. Static camera, wide. Ordinary American city masonry, not Mediterranean, no terracotta roof tiles. No people, no cars, no text.

Looking past the edge of the building opposite to the wider city beyond it — plain brick and stone rooftops, water towers and chimneys receding into soft afternoon haze, everything almost motionless, one faint drift of steam rising far away. Absolutely nothing else happens. Static camera, very wide. Ordinary American city, no water, no harbour, no distant skyline across a bay. No people, no cars, no text.

Extreme close on the smooth worn wood of a plain chair's low back and arm, the grain clearly visible, soft daylight lying across it and shifting very slowly. Shallow depth of field. Static camera. No people, no text.

Close on the folded woven blanket lying over the low stool in her room, its weave and fringed edge clearly visible, one soft fold catching warm afternoon light while the rest falls away into shadow, the pale wood floor and the corner of a chair leg soft behind it. It has depth and shape - an object in a room, NOT a flat swatch of cloth filling the frame. Static camera. No people, no faces, no hands, no text.

Close on a WARM honey-coloured wood floor with the grain of the boards clearly visible, one soft bar of afternoon daylight lying across them and the rest falling into gentle shadow, the edge of a muted rug just inside the frame. Correctly exposed with real shadow and warmth - NOT blown out, NOT white, NOT pale grey. Static camera. No people, no feet, no text.

EXTREME MACRO CLOSE-UP, camera about twenty centimetres away: the bare FOREARM of an older Korean woman in her early seventies, resting along the arm of her chair, with the pushed-back cuff of a charcoal grey linen sleeve at one edge of frame. The skin FILLS THE WHOLE FRAME edge to edge — soft, finely lined, the faint blue of a vein beneath it, the fine hairs catching a low side light. Background is a soft out-of-focus blur. NO face, NO head, NO shoulders and NO chair back in the picture. Nothing moves but the smallest rise as she breathes. Soft afternoon daylight from one side. Static camera. No text.

Close on a pale celadon green ceramic cup of tea resting on the low dark-wood Korean bandaji chest beside a folded pair of reading glasses, framed family photographs soft behind. Only the faintest single thread of steam, barely visible, drifting once and fading — almost no steam at all. Soft afternoon daylight, the lived-in room out of focus behind. Static camera. NO TABLE in frame. No people, no hands, no text, no floating particles, no thick steam, no billowing vapour.

Extreme close on the perfectly clean, still surface of pale golden tea inside a celadon cup, one soft highlight trembling very slightly and settling, the rim of the cup curving through the frame. The liquid is completely clear and unbroken. Static camera. No specks, no particles, no floating debris, no tea leaves, no bubbles, no foam. No people, no hands, no reflections of a face, no text.

A quiet corner of the lived-in room: the low dark-wood Korean bandaji chest with its pale brass fittings, the celadon bowl, two small framed family photographs, reading glasses folded on a few books, and the small ink brush painting on the wall above. Soft afternoon daylight lies across it all and changes almost imperceptibly. Tidy and cared-for, nothing happening but the light. Static camera, medium. No people, no text, no floating particles.

EXTREME MACRO CLOSE-UP, camera about twenty centimetres from the subject: the back of ONE HAND of an older Korean woman in her early seventies, resting in her lap. The hand FILLS THE WHOLE FRAME from edge to edge — soft lined skin, the tendons and the faint blue vein beneath it, the knuckles, short unpainted nails, and the cuff of a charcoal grey linen sleeve at the wrist. Background is a soft out-of-focus blur. This is NOT the seated view in the reference image; use the reference ONLY for her skin tone, her age and her sleeve. NO face, NO head, NO neck, NO shoulders, NO chest and NO chair in the picture. The hand is completely still except for the smallest slow lift and settle as she breathes. Soft afternoon daylight from one side. Static camera. No text.

EXTREME CLOSE-UP of the side of the neck of a woman of SEVENTY-THREE — clearly and unmistakably an elderly woman's neck: softly creped and finely lined skin, slack rather than taut, the tendon standing out, age-mottled in places, and the hair entering one side of frame is SHORT and SOFT SILVER-GREY, not dark. The UNDERSIDE of the jaw sits at the very top edge and the collar of a charcoal grey linen top at the bottom — a PLAIN WIDE BOAT NECKLINE with no collar, no buttons, no notch and no placket, identical to the top she wears in every other shot. Warm afternoon light from a window in a lived-in room, NOT a grey studio backdrop. The neck fills the frame. ⚠️ THE FRAME IS CROPPED BELOW THE MOUTH: no lips, no mouth, no chin point, no nose, no eyes and no face are visible anywhere in the picture — the top edge cuts across the jaw line itself. The pulse in her neck beats faintly and regularly, and the base of her throat rises and falls slowly as she breathes. Soft afternoon daylight from one side. Static camera, extreme close-up. No text. Nothing moves in this shot except the pulse in her neck and the slow rise of her breathing.

CLOSE SHOT, camera low and about a metre away, looking down at the BARE FEET of an ELDERLY WOMAN of seventy-three resting flat on a pale wood floor, the hem of soft charcoal grey linen trousers across the top of frame and the front legs of her wooden chair just behind. ⚠⚠ UNMISTAKABLY A WOMAN'S FEET, and clearly an old woman's: SMALL and NARROW with slender ankles and short neat toes — not large, not broad across the ball, not long-toed, no prominent tendons, nothing that could read as a man's foot. Soft, finely lined, slightly crepey PALE skin, the SAME fair colouring as her forearm and neck — not tanned. ⚠ VISIBLY ELDERLY: slightly crepey skin over the tendons, a little bony across the top, faint veins, softly wrinkled at the ankle — NOT the smooth taut feet of a young woman. Short unpainted nails. ⚠⚠ FRAMING: the WHOLE of both feet is inside the frame INCLUDING ALL THE TOES, with clear bare floor visible in front of them — the toes are NOT cropped at the bottom edge. NO face, NO head, NO hands and NO body above the knee. Warm afternoon daylight across the floor. Nothing moves but the smallest settle of her toes. Static camera. No text.

The hanji screen at the tall window seen from further back than before, the spare pale room dim around it, the screen drawing in and easing out slowly and continuously. Static camera, wide. No people, no text.

Close on a pale plaster wall with one soft patch of warm afternoon light lying across it, the lower corner of a small ink brush painting just inside the frame and the top of a simple floor lamp below. The edge of the light eases very slowly across the wall. Quiet and simple. Static camera. No people, no shadows of people, no text.

A soft out-of-focus field of PALE COOL daylight, softly off-white and faintly grey, with the faintest suggestion of a window edge at one side, barely changing at all, the brightness shifting only very slightly. Almost nothing to look at. Static camera. Desaturated, pale and cool — NOT orange, NOT golden, NOT warm. No people, no shapes, no particles, no text.

Looking out through ONE large clean pane of an apartment window at the pale sky above the brick and stone building opposite, its parapet along the bottom of the frame. A single bird flies slowly across the open sky, clearly visible, from one side and out of the other, and is gone. Nothing else in shot. Static camera, wide. One single undivided pane of glass, no mullions, no window bars, no divided panes. No people, no flocks, no text.

The same view through the same single pane: the parapet of the building opposite along the bottom of the frame and open pale sky above it, now empty, one soft band of cloud drifting very slowly. Calm and open, correctly exposed and NOT blown out to white. Static camera, wide. No people, no birds, no mullions, no text.

Back inside the SAME room as the reference image and furnished identically, looking from the window across the quiet interior — the low dark-wood Korean chest with brass corner fittings, its celadon bowl and framed photographs, the PALE GREY cardigan over the back of the second plain wooden chair, the low stool with folded cream blankets, the floor lamp, BARE PALE WOOD FLOOR with no rug — and the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms, sitting quietly in her chair where she has been all along, small in the wide frame. HER EYES ARE CLOSED and stay closed. She takes one slow breath and her shoulders rise and settle. ONE woman only. The camera drifts very slowly FORWARD into the room. Soft afternoon daylight, correctly exposed and not washed out. No text.

EXTREME TIGHT PROFILE SHOT, shot on a long lens wide open. The CAMERA is very close in at her RIGHT side and frames ONLY HER FACE AND THE TOP OF ONE SHOULDER — her head fills most of the frame, seen cleanly from the side. ⚠️ The background is a COMPLETELY UNREADABLE WASH of soft colour and light: no chair, no window, no picture frames, no bowl, no furniture edge and no wall corner is identifiable anywhere in it. ⚠️ She has NOT moved and HER CHAIR HAS NOT TURNED — she sits facing the same direction as in every other shot; only the camera has moved. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms. HER EYES ARE CLOSED and stay closed. She takes one slow breath in and lets it out, her chest and shoulders rising and settling once. Soft afternoon daylight across her face. Camera completely static.

A WIDE quiet view of the SAME room as the reference image, furnished identically and from the same side, in soft afternoon light: the tall window onto the brick building opposite, the low dark-wood Korean chest with BRASS CORNER FITTINGS, its celadon bowl and framed family photographs, the second plain wooden chair with the PALE GREY cardigan over its back, the low stool with folded cream blankets, the floor lamp, the small ink painting on the wall. BARE PALE WOOD FLOOR — no rug and no carpet. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms, sitting completely still in her chair in the middle of it all, small in the wide frame. HER EYES ARE CLOSED and stay closed. Nothing moves except one slow breath out. ONE woman only, and the other chair is empty. Tidy, cared-for and very quiet. Camera completely static. No text.

CLOSE SHOT with the camera in front of her and slightly to her RIGHT, framing her face and shoulders. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms. Her eyes open gently and she looks down and slightly away, taking her time, then breathes out once. Soft even daylight. Camera completely static.

EXTREME MACRO CLOSE-UP, camera about twenty-five centimetres away: BOTH HANDS of an older Korean woman in her early seventies, resting together in her lap. The two hands FILL THE WHOLE FRAME from edge to edge — softly lined skin, visible knuckles and tendons, short unpainted nails, the cuff of a charcoal grey linen sleeve at each wrist. Background is a soft out-of-focus blur. This is NOT the seated view in the reference image; use the reference ONLY for her skin tone, her age and her sleeve. NO face, NO head, NO neck, NO shoulders and NO chest in the picture. She spreads her fingers slowly open, then closes them gently and lets both hands settle. Soft afternoon daylight from one side. Camera completely static.

MEDIUM SHOT with the camera directly in front of her at seated eye level. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms, facing the camera square. She takes one small slow breath and her shoulders settle. Her head stays facing FORWARD throughout and does not turn to either side; she does not lean, and she does not nod. Her eyes are open and lowered. her own lived-in city apartment — the low dark-wood Korean chest with brass corner fittings, its celadon bowl and framed family photographs, a PALE GREY cardigan over the back of the second plain wooden chair, a low stool with folded cream blankets, the tall window onto the brick building opposite. Bare pale wood floor, no rug and no carpet. Soft afternoon daylight. No table. Camera completely static.

WIDE SHOT with the camera across the room at standing height. her own lived-in city apartment — the low dark-wood Korean chest with brass corner fittings, its celadon bowl and framed family photographs, a PALE GREY cardigan over the back of the second plain wooden chair, a low stool with folded cream blankets, the tall window onto the brick building opposite. Bare pale wood floor, no rug and no carpet. Soft afternoon daylight. No table. the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms, small in the frame with the whole spare room around her. She turns unhurriedly to look toward the tall window and the afternoon light. Camera completely static.

CLOSE SHOT of the face of the same Korean woman in her early seventies, short soft grey hair, in a soft charcoal grey linen top and matching soft GREY linen trousers (never black), barefoot, seated on her low-backed chair with a soft grey seat and wooden arms, soft afternoon daylight across her, the spare pale room out of focus behind. A quiet held moment at the end of a calm few minutes.