We produced a thumbnail board outlining our characters and a rough idea of what was going to happen. I kept with my idea of a compass and protractor fighting over a rubber.
In today's session, we turned our thumbnail into a more detailed storyboard. Mine became more of an animatic by the end of the session, which outlined the characters movement, timing and position a little more, although I still have detail to add in that regard.
I'm shooting for a more cheesy story, pertaining to the camera angles and movements I use, as I couldn't think of anything too unique regarding the characters movements and actions, (like perhaps a stapler shooting staples at another object (so why don't I use a stapler? I don't think I could have a stapler move the way I want it too, like I can with a compass. A compass and protractor also make for a more recognisable setting, this setting being maths homework on a desk. They also make for a kind of binary opposition, being so related in their usage for maths homework, yet consisting of entirely different shapes)) so I decided a story of this cheesy fashion would make up for the lack of uniqueness.
The story and shot detail are as follows: An opening wide shot depicts a table with leftover homework (I don't think this detail is necessary, whether or not it is noticed by the audience shouldn't detract from the rest of the story). The camera zooms into the table, focusing on the compass in the bottom left of the shot. The compass will then stand up, perhaps have a quick look around, but I will be saving time anywhere I can with the 10 - 15 second duration restriction. The camera will then pan right to the protractor, on the opposite side of the notebook, the protractor will then stand up in a similar fashion to the compass. The camera will then pan left to a rubber in the centre of the notebook, the rubber will act as the incentive for both the compass and protractor, and this is shown by a small zoom into the rubber, with a possible change in background, and a short romantic harp escalation to really make this point. The screen, still on the same shot, will split down the middle, the left and right side panning to the compass and protractor respectively, they shall both be enamoured by the rubber, and hasten to fight for it. The compass makes a mad dash at the protractor, with the split screen moving to the right, following the compasses direction. This will cut to a close-up of the protractor, with a slight twist zoom and a close in of letter boxes, to reflect the protractors urgent focus. The letter boxes will then quickly move off screen, and the camera will zoom out to show the entire body of the protractor. The compass at this point will run into the shot, and the protractor will leap into the air and knock it off it's figurative feet. The protractor will then land on the opposite side of the compass from which it started, with the compass laying defeated to the right of the screen. The protractor then rolls left, off screen, the camera shortly following it, keeping the defeated compass at the centre of the screen, moving counter-clockwise, depicting at the end of this movement the protractor and rubber together. I depict the rubber as being sentient also in my original thumbnail board, but that was a mistake, as the compass and protractor can be the only two "living" objects, so the rubber will never actually be seen to move, yet I feel it will seem to be alive as a result of the two character's attraction to it.