How did thinking in terms of shots and scenes influence your approach to communicating your design concept?
Thinking in terms of shots and scenes really forced us to give a concrete visual form to the scenarios where users might be interacting with out design concept. We have to think about who these characters are, where they would be using this technology, what their actions would be and in what sequence. Then we have to take all this information and think of how to best capture and relay them visually (what type of shots and transitions to use) in order to communicate our design to potential users.
What motivated your choice of storyline structure? Can your think of an exemplar from a film that uses the same structure?
Our storyline structure is quite straightforward, with relatively linear, sequential narrative progression. Most films that came out of the Classical Hollywood era followed this structure of exposition -> inciting incident -> rising action -> climax -> denouement, though in our storyline it will be much more simplified. We also toyed around with interjections (perhaps cutaways) that address the camera for comedic effect, like in early Woody Allen movies. These would parody styles of late-night commercials and infomercials.
What choices did you make about audience and style? Were they related?
Yes, given the wide target demographic of our design concept, we wanted a method of communication that would reach as general an audience as possible. The linear narrative is a style/structure that is at this point so embedded into our way of viewing media as audience members. Coupled with the obvious types of shots that follow the Institutionalized Mode of Representation, such as establishing shots, medium two-shots, over the shoulders, close-ups and insert shots, we’d just like this to be straightforward and easily comprehensible.