Storyboarding. Let s explore how to storyboard

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Brendan Atkinson
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1 Storyboarding Let s explore how to storyboard

2 Storyboarding This is where you plan out your shots for each scene. By doing this you will ensure you do not waste valuable production time. Not only do you plan out the shot, but the sequence, angle, and what shot you want to capture.

3 Storyboarding Show me. Don t tell me. If you tell the story you are asking your audience to imagine it If you show the audience, you are molding the message into visual imagery.

4 Storyboarding-telling example

5 Storyboarding-showing example

6 Storyboarding-Show Me Showing allows you to mold a message into visual imagery. Show the actions of the characters, aesthetics of the locations, and how the characters feel.

7 Storyboarding-Elements Beginning establishes the location and introduces the main character and conflict of the story Middle where the hero faces complications and obstacles within the story End where the climax and resolution of the problem occurs

8 Storyboards A series of sketches that are used as a planning tool to visually show how the action of a story unfolds

9 Storyboards Clearly conveys the narrative flow of a story by defining the challenges and problems of a project Assists in the timing of a scene Assists crewmembers during production for framing the action

10 Industries that use Storyboards Advertising Film Animation Television Multimedia Web design Government

11 Storyboards The principals of visual storytelling have been taken to new heights with the emergence of film, television, computers, and animation. Stories with structure have a beginning, middle, and end. When creating a visual story, you need to show the elements rather than tell it. Read screenplays to further your understanding of visual storytelling. Storyboards are sketches that visually show how the action of a story unfolds.

12 Apply what you learned Write a short scene that illustrates the principles of showing versus telling.

13 Storyboard Language CLOSE-UP SHOT: A close range of distance between the camera and the subject. DISSOVLE: A transition between two shots, where one shot fades away and simultaneously another shot fades in. FADE: A transition from a shot to black where the image gradually becomes darker is a Fade Out; or from black where the image gradually becomes brighter is a Fade In. HIGH CAMERA ANGLE: A camera angle which looks down on its subject making it look small, weak or unimportant.

14 Storyboard Language JUMP CUT: A rapid, jerky transition from one frame to the next, either disrupting the flow of time or movement within a scene or making an abrupt transition from one scene to another. LEVEL CAMERA ANGLE: A camera angle which is even with the subject; it may be used as a neutral shot. LONG SHOT: A long range of distance between the camera and the subject, often providing a broader range of the setting. LOW CAMERA ANGLE: A camera angle which looks up at its subject; it makes the subject seem important and powerful.

15 Storyboard Language PAN: A steady, sweeping movement from one point in a scene to another. POV (point of view shot): A shot which is understood to be seen from the point of view of a character within the scene. REACTION SHOT- 1.: A shot of someone looking off screen. 2.: A reaction shot can also be a shot of someone in a conversation where they are not given a line of dialogue but are just listening to the other person speak. TILT: Using a camera on a tripod, the camera moves up or down to follow the action. ZOOM: Use of the camera lens to move closely towards the subject.

16 Difference between a scene and a shot A Scene: A combination of shots that shows the action that takes place in one location or setting.

17 Difference between a scene and a shot Shot: A continuous view filmed from one perspective. Shot Descriptions Camera framing How close or far a subject is from the camera Camera angles Angling of the camera from which you view the subject. Camera movement The movement of the camera forward, backward, left, right, up, and down

18 Shots Remember that we have to first set the scene. We do this by an Establishing shot. An Establishing shot could by a Long shot, or a Wide Shot.

19 Apply what you learned Break down the following scene by blocking characters and the camera. How do you intend to visually tell the story? Compose each shot utilizing camera framing, angles, and movement. 1) Exterior: Center City Park 2) A man jogs at a leisurely pace 3) An out of control rollerblader enters the park across from the jogger. 4) The jogger passes a couple walking their dog 5) The jogger stops to pet the dog before continuing on 6) The rollerblader intersects the path of the jogger, and trips over the jogger s foot. 7) The rollerblader collides with a park bench.

20 From Script to Storyboard Shot List A written list of the intended shots for each scene The major elements of the shot list include: Camera framing: The distance from the camera to the subject Camera angle: The angle the camera is placed in relation to the subject Script description: Written notations that identify the placement of the shot in relation to what is happening in the screenplay

21 Illustrating Camera Movement Directional arrows indicate character and camera movement within a frame.

22 The Storyboard Process Meeting with the director Research Thumbnails Roughs Final storyboards

23 Meeting with the Director Read script prior to meeting. Come prepared with questions. Take notes during meeting. Thumbnails Used as a note taking tool No more than stick figures to help visualize ideas (imagine you see the character or scene sketch a rough picture on the side of the script.

24 When reading the script some questions you may consider What is the emotional goal of the story? What are the personalities of its characters? What is the overall mood of the story or scene? How do you see the action unfolding? What character is in charge of each scene? How do you want the audience to feel?

25 Full-sized sketches drawn to proportion Block action, dialogue, and characters within a scene Roughs

26 Final Production Storyboards Showcases camera framing, angles, and movement Includes description beneath panels describing the action Your sketch should fill the entire storyboard frame.

28 Final Production Storyboards

29 Final Storyboards Each panel should adhere to a specific aspect ratio of the production Panels should be numbered according to the corresponding scene in the screenplay. Each panel should also include a shot number. Camera angles and action should be described beneath each panel, along with a brief description of the shot and/or any special effects. Directional arrows should be used anytime there is significant movement within a panel.

30 Apply what you have learned For this exercise, create the shot list and storyboard. The scene should average between 6 and 10 shots.! Shortly after leaving a classroom, she realizes that she has left her backpack behind. Worried about losing it, she hurries back to the classroom. She looks all around the area where she was sitting, but the backpack is not there. Then she sees it sitting on the instructor's desk. Checking the backpack's contents, she is relieved to find everything there.

31 Zoom Shot Camera stays stationary as the focal length of a lens zooms in or out. Framing gets tighter if the camera zooms in. Framing gets looser if the camera zooms out.

32 Visual Elements Lines Shapes and forms Overlap Contrast and similarity Texture Patterns

33 Lines The most basic element of design is the line. Lines are horizontal, vertical, curved, bold, implied, jagged, and diagonal.

34 Shapes and Forms Shapes are outlines of objects that are defined by their height and width. They tend to lack mass and often appear as silhouettes. Circles, triangles, and squares are shapes. Forms are shapes that acquire the third dimension. Example: A circle is a shape, whereas a sphere is a form.

35 Overlap Overlapping objects creates depth within an image and a more interesting composition.

36 Contrast Contrast in weight, size, color, and shape draws attention to a dominant object.

37 Objects of similar size are seen as a whole. Similarity

38 Brings out detail of an image Smooth Devoid of any roughness such as a chrome bumper Rough Texture that is visible to the eye such as the bark of a tree Texture

39 Patterns Patterns occur when lines, shapes, texture, or colors are repeated. Patterns grab our attention by making a powerful visual statement.

40 Symmetrical Objects on one side of the screen are mirrored on the other side. These elements are identical or similar in terms of the number of objects, colors, or other elements.

41 The two sides of the frame may differ in shape, value, position, texture, and color. Asymmetrical

42 The Horizon Line and Vanishing Point The horizon line is an imaginary line that is at our eye level. The vanishing point is a point on the horizon line where the parallel lines of an object recede to the horizon.

43 One-point Perspective There are three types of lines used in one- point perspective: vertical lines, horizontal lines, and orthogonal lines. Objects that contain parallel lines may be drawn in one-point perspective, such as room interiors, tables, and chairs.

44 Two-point Perspective Two-point perspective has two vanishing points. One to the right and one to the left on the horizon line Applying two-point perspective to your storyboard will help you to draw environments and objects from different angles.

45 Two-point Perspective

46 Three-point Perspective Three vanishing points: two rest on horizon line, the third is placed above or below horizon Bird s eye view Worm s eye view

47 Depth of Field Refers to how much of a frame is in focus Shallow depth of field Wide depth of field

48 For this class You will practice the art of storyboarding before each project. This is a mandatory piece of the preproduction process. On each storyboard I should be able to see the following: a) Shot distinction b) Scene distinction c) Description of the action/dialogue d) Camera movement

49 Storyboard Example

50 Storyboard Example

51 Storyboard Example

52 Storyboard Example

53 Storyboard Example

54 Final Assessment Read the following story. Write down a complete shot description, including framing, camera angles, and camera movement, if applicable. Pay strict attention to what catches your eye. What do you think the shot is supposed to convey in the overall scheme of the scene? Waking up, she looks at her alarm clock. Forty-five minutes late! She goes through drawers and closet like a tornado, looking for clothes. She gulps a cup of cold coffee from yesterday 's brew. She races to her car and tries to start it: The battery is dead. Desperately, she takes a bus, which is crowded and lets her off a long way from campus. She runs the last several blocks, arriving disheveled and winded. With her last energy, she runs up the stairs and down the hall to the classroom door, where she finds several other students. Asking why they 're still outside, she learns that the change from daylight saving time to standard time was the day before, and she's actually early.

55 Apply what you have learned Draw a building from a low-angle and high-angle point of view Above and beyond credit: make one drawing that incorporates several different views of an office complex. Consider before you start how the views will relate to each other. The final product should be a unified whole.

56 Homework Select a scene from a film or video and compile a shot-by-shot analysis, which includes a description of the design elements for each shot. Shot composition should also describe camera and subject movement. The analysis should describe how the arrangement of elements contributes to the impact of the shot or scene.

57 Assessment Go back to the scene you described on the first day. Create a storyboard for that scene. You can utilize celtx or you can draw it by hand. This will be due at the beginning of the next class.

58 Storyboard Example

59 Elements of a Hero s Journey The Calling- a traumatic event. This may include having something taken away and the quest by the hero to regain it. It doesn t always have to be agonizing, but instead creep up on the hero. It may include discontentment with the way the hero lives his/her life, and the quest to find what is missing. Threshold- the point where the hero takes action, or passes from the ordinary world into the extraordinary world, which is filled with danger and challenges. It is at the stage that the hero will meet people who may block her path. The hero may also meet a mentor at this stage, or helpers, that provide stability to the hero.

60 Example of a Hero s Journey Initiation-during this stage, the hero faces both challenges and obstacles on his/her journey. In the beginning of the journey the challenges may seem relatively easy, but as the story progresses, the hero will face much more difficult tasks, which forces the hero to change and grow. The hero may meet foes that are disguised as friends. It is up to the hero to use his/her judgment to recognize friend from foe. The Abyss- the point where the hero must face his/ her greatest fears. Sometimes the challenges become too great. It is here that the hero must either surrender to the fear or retreat.

61 Example of a Hero s Journey Transformation-when the hero conquers the abyss, transformation occurs. Part of this process includes revelation, or a dramatic change in the way the hero views life. The Return- the final stage of the journey. This is the point where the hero returns to his/her ordinary life, but not without growing as a person. The hero may become stronger, wiser, or may become enlightened.

The Elements and Principles of Design. The Building Blocks of Art

The Elements and Principles of Design The Building Blocks of Art 1 Line An element of art that is used to define shape, contours, and outlines, also to suggest mass and volume. It may be a continuous mark