Chapter 2: The Storyboard Artist Is Part of the Preproduction Team. 9. Tutorials. 26 . The Art of the Storyboard II seeks to help you in the following ways. Chapter 1: The Storyboard's Beginnings. 1. Tutorials. 7. Chapter 2: The Storyboard Artist Is Part of the Preproduction Team. 9. Tutorials. Chapter 3: The. Animation The Art of Layout and Storyboarding. PDF WITH TEXT download · download 1 file · SINGLE PAGE PROCESSED JP2 ZIP.
|Language:||English, Arabic, Portuguese|
|ePub File Size:||27.47 MB|
|PDF File Size:||18.53 MB|
|Distribution:||Free* [*Sign up for free]|
The Art of Storyboarding. Extensive storyboards were drawn by artist Michael Ploog so that all the .. You can also study the storyboards in a PDF format. Storyboard. The Art of Storyboarding. The Art of Storyboarding. Each panel of a storyboard depicts a scene: physical environment, set design, characters, etc. bestthing.info [email protected] The Art of Storyboarding- Online. Hosted by Sergio Paez. Class Summary - Composition. What is a Storyboard.
Moving Pictures is a television series devoted to film that aired on BBC from to It was presented by Rock Follies screenwriter Howard Schuman. Each program was composed of several short films on different cinematic subjects.
Although it never achieved high ratings, Moving Pictures was frequently used to teach film studies. Interviewed on the set of Pulp Fiction, Quentin Tarantino told John Travolta it was the best show about movies on television. His son Sean Haworth brought them in for me to see when we were working on a film together years ago and I made copies.
NOTE: For educational and research purposes only. The visuals of both the desolate Antarctic and the ever-morphing alien creatures in The Thing were envisioned long before the movie was shot. This is nothing new… but the similarity between the storyboards and the final imagery shot by legendary DP Dean Cundey is staggering.
Storyboards are often only a guide, but in this film they were so specifically rendered that they became gospel. The video below examines the discovery of the alien spaceship and the transformation of Norris in the shocking scene that still haunts me today.
Just like Hitchcock worked with Saul Bass to create the famous shower scene in Psycho , Ploog crafted beautiful storyboards for Carpenter so that the time on set was best utilized to tell the story. Be it pencil to paper or an iPad app filmmakers can share the envisionment of the worlds they are creating by using storyboards.
Sometimes he even begins thumbnail sketches then and there, in transit. But the most important reason is for yourself. Whatever animated thing you are about to create or develop, storyboarding it first will always help to PLAN YOUR WORK, which is vital to figuring out the staging of all your characters and backgrounds and how the camera will frame these elements. Planning is probably the step most often missed by students, and at the same time, it is probably the most essential tool in your entire animation toolbox, especially in the first few years of your animation life.
You should never sit down in front of your computer, animation disc, puppet, or camera setup, until you know exactly what poses you are planning to use, when you are planning to use them, and why.
Animation The Art of Layout and Storyboarding
Before you begin any shot, it's so important to study references, work out your thumbnails, and make your timing and acting decisions on paper. This may seem like an "extra" step to some of you, but believe me, it will save you time in the long run and your work will look so much stronger than it would have otherwise.
All the shots I've ever worked on that turned out great, are also the ones I spent the most time planning out. The shots where I got cocky and thought "Aw, I know how to animate that, I'll just sit down and do it" are all without exception, the shots that ended up being just "okay," but never as good as they could have been.
Terminology 1. Can I clearly see what is going on? Is the camera angle motivated by the story point? Number of characters in the scene, do they all need to be here?
Can I tell where I've been, where I am, and where I'm going? Has the staging become too obvious? Often I find that the point of the story is being lost simply by unclear staging. To the left is an example of a scene in which a boy is showing his mom he got an F on a paper at school. The boy is giving excuses at this point in the story and fearful of his mom's reaction.
Though the staging is interesting the focus has been put on the mom. This is a great opportunity for some acting on the boy but it's missed and most likely will have a long paragraph worth of dialog assigned to this single panel. Many times I will see a panel like this with both the boy's and the mom's dialog set to it. No matter if you are creating the dialog or it's coming from a script, you need to look for opportunities for acting where you can give the audience a chance to know your character.
To the right is an alternate staging for the same scene. It gives the boy a chance to act and it's easy to tell right away what the scene is about. I would probably add several panels of acting in this same staging.
Now you don't always have to be so blatant as this but it works. The best would be a combination of the two shots presented here. Start with the boy and cut to the mom's reaction. Even better would be to have the boy turn away from the mom in the shot where we see the mom. This could give him some good acting where he is making outlandish excuses that we know are lies.
Then the mom could call him on it. Some board artist also tend to misinterpret things like Over-The-Shoulder OTS shots, thinking in means the foreground character has their back to the camera and the character in the background is facing the camera.
It really just means that one character is in the foreground possibly partially cut off by the edge of the field and the other in the background or other action is in the background. Try to think of alternate ways to stage a scene so it's clear. Sometimes even simple straight on flat staging will make the scene clearer and actually more interesting. Especially if you've been doing more dynamic shots one after the other.
One of the ways you can change the mood of a scene is simply by changing the angle of the camera.
In this post I have presented the same basic scene from 3 slightly different camera angles. I purposefully kept the camera on the same side of the character to help show how the change can effect the feeling of the scene. To begin with I have a level camera to the character. Here you get the feeling the lady is remembering something or someone. A scene like this often is accompanied by a camera move either in or out depending upon the point in the story that it appears. Next I have a low camera angle that give a more heroic or dramatic feeling.
With this type of camera angle give the character a sense of accomplishment. Either that they will be able to overcome or have already have triumphed.
It's basically putting the character on a pedestal. It harkens back to the age of Kings and Queens standing on their balconies looking down upon the peasants. Of course this camera angle can be pushed to the point that a character appears taller than they are.
Even old propaganda posters used images of people from low angles. Accompanied with harsh shadows can make it even feel sinister. Often you will see films in which a character that is in a desperate situation use low camera angles with harsh shadows.
The opposite of this is the downshot or high camera angle. It gives a sense of bewilderment or loss. That perhaps the character didn't get what they were after. Like the first example you will often find a shot like this accompanied with a camera move out. It can also be pushed to give a stronger feeling. A downshot also helps to give scale and place the characters into their world. In many live action movies a crane is used to bring the camera to this angle.
No matter how you use these angles it's always good to keep in mind that the angle should not feel out of place. I find it is always best for you audience to not be so aware of the camera. This included camera moves.
This scene from "The Mighty B" animated series was staged with the second panel in mind. Knowing that Mary-Frances was going to enter the scene and admire Bessie's pile of work, plenty of room was left in that first panel to make room for this character to enter from off screen.
Boards by Sherm Cohen One of the best bits of advice I ever received was, "stage a scene based on the widest action. This allows for nice negative shapes around the characters, and allows you to draw the key players and props with easily-readable silhouettes.
The Pose When posing characters in your storyboard panels, two main aspects must always be considered: Silhouette - The overall shape of a pose, which should read clearly even when the pose is blacked in without its internal details. Line of Action - This helps your poses "read". It makes them clear and understandable and gives them a distinct non-ambiguous direction.
This occurs when different elements of the body are at the same angles - See figure A. To remedy this, try to place variety in these angles - figure B. Both within the character's pose and the angles betwen different characters on screen as well. Avoid twinning: The Line of Action The position and posture of the characters in the scene can greatly effect the staging and composition, in addition, it can help to place the characters within the situation, making them part of their environment and the story.
Some ways to strengthen the pose of the character is to create a nice silhouette, this is the overall shape of a pose. This shape should read clearly even if the pose were filled in black you would still be able to tell what the character is doing. Another method is to create a strong line of action through your character.
This helps your poses "read", it makes them clear and understandable and gives them a distinct non-ambiguous direction.
Don Bluth's Art of Storyboard
This is an important factor in storyboarding - characters should rarely be standing straight up and down. No one in real life does it either, even army kids don't stand completely up and down, their backs are slightly arched.
Another important part to drawing any character is to observe what real people do and how they use thier bodies to act out certains emotions. Watching movies, etc. Watching the Simpsons is a good reference point because it's all about real life acting. You wouldn't think it but Homer moves more like a real human than you think.
Most people jump into the details too quickly.
They want to get the facial expression and details of the face before establishing the body. Fill up some pages of thumbnail sketches portraying as many expressions as possible. The body language should always come first, the face just backs it up. The one thing that will always bring your drawings to life is the 'line of action' or the imaginary line that dictates how the body will move.
You can also think of it as the back bone of a character. This line should always be used in setting up a pose, as you can see in the pic below, I get a wide range of emotions with no faces using only their bodies. When all else fails, get up and see how your body bends and shapes when trying to act out emotions. Most storyboard artists and animators follow this method as a basic principle for planning out the acting and motion of the animated characters - their attitude and behaviors become expressed through their physical body.
Body language and posture can add enormously to the mood, expression, and context of your character.
One character causing the action, the other character s react or follow the action. By using Opposing Poses like in some of the examples shown below, you can have characters curved or directed on an arc, other characters have straighter poses, but still aimed on an angle.
This kind of dynamic posing sure beats the hell out of characters standing straight up and down all the time. Screen captures from Mickey's Christmas Carol - study the lines of action and how they affect the composition: No one explains it better than Preston Blair: Look at these thumbnails by David Gemmill, observe the dynamic poses and silouettes he creates within each drawing. The Close-Up When the emotion or the reaction of the character is especially important , it's time to cut to a close-up.
A close-up can best be defined as a head-and-shoulders shot There's no real room for the character to move, so the audience can focus on the expressions and emotions of the characters. The way characters act and react is always very important to understanding the story. A common mistake of less experienced storyboard artists is framing their shots too tightly. Even a close-up should have a bit of breathing room, unless it is the rare occasion of an extreme close-up.
This also has to do with pacing If a storyboard artist were to fill their board from start to finish with lots of crazy angles, fancy camera moves and extreme close-ups, it would leave no room for the artist to show any real impact when it's really needed. It's all about contrast. The Pan This term is short for "Panorama Shot," a camera move in which we move the viewer from left to right, or right to left, or vertically or diagonally.
Here are samples of various camera move combinations and how to display them in your boards. The Cut The general principle to use is to always try and get as close as possible to show whatever is most important at that moment, while still leaving enough room for any actions that might occur in that scene.
That may mean that the shot is very wide -- for example: if I need to show somebody driving a car around the corner, the shot needs to be wide enough to see all of that action. If I'm trying to show a guy sitting in a restaurant drinking a cup of coffee, I would want the framing to include just the guy, the table, and the cup of coffee.
Cut from Gerald talking on a radio microphone to the broadcast tower, spreading his message across town. It's all about how important the specific action is to a scene. If the man at the coffee shop is putting a couple of creams in his coffee, there is no need to make a special emphasis on that action; so I would not cut in closer on him pouring in the cream.
Cut from Grandpa sitting in car to a close-up of him turning on the radio Factors to always remember when you are first planning your shots: Subject Placement To hold the attention of the viewer, give your pictures a bold and dramatic arrangement. Avoid putting your subject directly in the center of the picture unless you are striving for a formal arrangement in which the subject firmly commands attention.
Move it from the middle: One of the most common mistakes of amateur photographers is placing the subject smack dab in the middle of the frame. This makes a picture more static and less interesting. That's why one of the most popular guidelines in photography, painting and cinematography is the Rule of Thirds.
Imagine a tic-tac-toe board over your viewfinder and position the subject along one of the lines or at one of the intersections.I had no time to spare!
This means that the monitor, the processor speed of the computer, and the RAM should be considered. This is a time consuming process in which the artist should count on completing from 20 to 50 frames per day.
It's all about contrast. I would probably add several panels of acting in this same staging. I love movies, and they are my biggest passion and major interest.