Realsnake here are a few tips regarding screen direction and [b]line of action[/b]. I hope this doesn't come across as patronising , I can see you have a natural feel for the medium you are tackling. As I said before I like what you are doing and I know it's a W.I.P. you and other readers here probably know all about this stuff but here goes anyway.....
I guess one of the key issues , without going too far into an almost endless topic, is to consider that shot sequence is story telling.
When you tell a story with words there are similar devices as with pictures in play one in particular is the grammatical person.[url]
http://en.wikipedia.org/wiki/Grammatical_person[/url]
The advantage with telling stories with pictures is that you can more easily change the 'viewer(or person)' and effectively change the perception of a given scenario.
A good and easy example of this which you will be very familiar with from movie cliche is the 1st person POV ( a subjective point of view), which draws attention to the presence of the viewing party or voyeur. This can be effective when creating tension or a perceived threat from a malignant presence. Your shot of the woodcutter from between the trees is a little reminiscent of this POV style ( perhaps from the creatures of the woods), it certainly adds mystery, whether intended or not.
Close ups on the other hand can often (but not always) bring to the fore the internal machinations of the subject, ie their mood or feelings.
Symmetrical shots as in the shot of the woodcutter coming over the rise should be very carefully deployed as they can often create the feeling of an important or iconic moment, such as a revelation or some such. If over used it can have the opposite effect (as can all of these techniques).
A good example of overuse is in the two towers movie where often we are left to wonder what's the big deal here?
Wide shots are establishing shot and are often for exposition.
There are so many different methods but I think that's enough to get you thinking about that.
SCREEN DIRECTION , object or people moving screen left to screen right, up down ore diagonal.
This is basically a simple principal but it's deployment can be far from that.
There are two things to consider foremostly,
continuity and drama.
There is an invisible [b]line[/b] when it comes to camera postion and continuity.
Continuity is important so as not to confuse the audience, consider two armies or football teams. Football is a good example imagine the main cameras mainly on one side of the pitch it is easy to follow the direction of the ball. If you cross the line and record from the other side of the field, it will look like the teams are running in the wrong direction and bound to score an own goal.... yoiks. This can be important in the longer telling of a story where we return to a traveller or vehicle there is no question of where they are going if this is held in mind.
A common place when this is an important consideration is when dialogue or action takes place between characters , when an edit between characters takes place if cameras are deployed on the correct side of the line then they will appear to be facing each even between edits, if not then they may appear to be talking to the back of each others heads , refer here to that football analogy I used earlier.
Also screen right can be perceived as more positive , left as negative or more scary.
Likewise a character travelling upwards through the screen can both literally and metaphorically be ascending, even transcending.
The same is true in reverse , [i]descent[/i] is better illustrated by someone travelling down screen than up.
Of course if you are following a subject it is way cool to have them zig zag, there may be other reason for purposefully disorienting the audience.
I won't get into lenses right now but they can be very important , the difference between a long lens and a wide angle can make for very different perspectives both literally and metaphorically.
This is just the tip of the iceberg but I think these basic principals should help. Know these rules before you break them, you may notice film makers who stick to these rules closely are the likes of Spielberg ,David Lean, Peter Jackson Disney and other proponents of classic film techniques. Michael Bay and others on the other hand are more flexible with 'the line' and achieve a different outcome. I am not praising or criticising either technique here, have a watch of some flicks with these storytelling methods in mind and you will probably be inspired in regards to your own piece.
I hope that helps....
and for shot sequence i can break each scenario in small parts where 1- woodcutter walks from right side to left 2- then upper view where a bird was sitting on a tree trunk 3- his foot view walk cycle to make it look more natural i could add dust and footprints etc..