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  • 1. Storyboarding
  • 2. Storyboarding
  • 3. Assignment: • Design a dynamic, moving image representing the problem inherent in a business whereby a client is allowing money to flow through „his fingers‟ without being able to “capture” it -
  • 4. Criteria: • The client wants it in the morning. • He doesn‟t know what it will look like, but wants to see the idea before you begin. • This is an added image falling outside of a fixed budget.
  • 5. Complications: • The client is in Washington, DC • You are in Denver with your video people. • Your animators are in San Francisco
  • 6. 1• Quickly sketch a series of images which capture the essence of “cash slipping through your fingers” • Fax to the client. • Gain approval
  • 7. 2• Show the approved sketch to the videographer. Shoot a hand grabbing in the air against a blue screen. Convert to Digital Video and ftp to San Francisco along with a copy of the storyboard frame.
  • 8. 3• Because the drawing indicates bills are in the flow, scan money and email to the animator.
  • 9. 4• Using the Storyboard as a guide, the animator captures the hand video, composites a flow, adds the bills and creates a mask for the thumb.
  • 10. 4• The animation is conceptualized, communicated to client, approved, parts are built, and created within a few hours. • That evening, an .avi file is uploaded, input in the presentation with a day to spare.
  • 11. Why Storyboard? • It is a Key Organizational Tool • It is for Planning, Proposing & Presenting Concepts • It is used by Clients, Investors, Production Team Members ... • It realizes the Director‟s Goal
  • 12. Why Storyboard? • In Film, Predetermines the “Look” • Controls the Shots, Camera Moves, Action, Staging, Style, Pace, Framing, Character and Scene Elements . . .
  • 13. Why Storyboard? • In industry, Controls the “Outcome” • Controls the vision of the team, each team member can follow a tangible plan to successful completion
  • 14. Why Storyboard? • Translates the Script (Words are Abstract Concepts) to a Visual Tool (Pictures are Tangible Concepts)
  • 15. Words v Pictures • Words are completely abstract. The word “man” has nothing to do with how a human being appears • Image of a “man”, with added dress, expression, features . . . Transcends language - cements the meaning
  • 16. Words and Pictures • A Storyboard uses both - pictures to convey meaning, and words to simplify message . . . In combination, complete control over the production • Uses Specific Language • Determines Camera View
  • 17. Why Storyboard? • Creates a new, very important character in the production - The Camera Point-of-View
  • 18. Storyboard - Storytelling • Storyboarding reminds you to tell a story - create continuity, define your beginning (establishing shots), middle and an appropriate ending - and make certain that they work together.
  • 19. Why Storyboard? • A special effect can be represented only one line in script; “The car burst into fire when hit by the train” What? If bidding Special Effects (SF/X), you must have a storyboard to define effects desired for accurate price quote and adherence to budget
  • 20. Pre-Editing • Storyboarding is low-tech prototyping - allows the camera crew to shoot footage which edits more easily, has continuity.
  • 21. Discipline • When reaching for a deadline, staying within the parameters of the agreed-upon vision by the Director or Client requires visual control to remain on-time and on- budget.
  • 22. Artistic Expression • Better (Cheaper) to try the exotic and interesting experimentation in the low-tech “analog pencil” stage than after hours of 3D modeling and rendering.
  • 23. Storyboard Formats • Pictures pinned to a wall • Sketches on a script • Pencil Drawings • Flow Diagrams for Non-Linear • Finished Renderings • Photomatics • Computer “Animatics”
  • 24. Classical Storyboarding Fred Zinnemann - The Wave - 1935 Fred’s storyboards appeared in his script margins.
  • 25. • Alfred Hitchcock made his own storyboards for all of his films. • He decided on and sketched camera angles, action, framing, camera movements, timing … and his crew and his actors knew exactly what was expected of them Artistic Expression or Control?
  • 26. Alfred Hitchcock - Family Plot Direction for a single take
  • 27. Alfred Hitchcock - Family Plot
  • 28. Classical Storyboarding Alfred Hitchcock - Saboteur - 1941 Storyboards determine intricate action for fights, thrilling scenes, and guide the actors
  • 29. Classical Storyboarding Alfred Hitchcock - Saboteur - 1941 Models and dolls can be used in intermediate steps for working out and demonstrating complicated action
  • 30. Classical Storyboarding Alfred Hitchcock - Saboteur - 1941
  • 31. Storyboard for Animation • Without Live Actors • Camera View wants movement to dramatize static shots • Cinematic concepts • Watch out for the wild fly-by
  • 32. Storyboard for Animation • Drafting sequential versions while editing text and images allows the Director and Client to agree on the message prior to engaging expensive 3D animation
  • 33. Mixing Live and Animation • Storyboarding is critical when shooting live video upon which animation will be added. The film crew needs to see the animated sequences so they can frame for the “invisible” components, the animators need to have input into scenery, movement, framing . . .
  • 34. For Animation Storyboard by Pen Volkmann
  • 35. Script to Storyboard The Written Direction: “Opening shot from a high angle, looking down on the crow’s nest of the drilling rig. Boom down following cables to rig platform and dolly around to the driller’s console, ending in another high angle. As the camera descends, pull back a little and tilt down slightly.”
  • 36. Script to Storyboard Using industry ‘Specific Language’ and illustrations with
  • 37. A rough storyboard: The finished clip:
  • 38. Mapping • A valuable component of storyboarding - not the Camera POV, but the location of props, cameras, characters, and the corresponding interaction during a scene • Helps the artist visualize the Camera View
  • 39. Alfred Hitchcock - Family Plot Actor’s movements from a high camera angle with a follow pan
  • 40. Non-Linear Storyboarding • Business Plans, CD-ROM Production, Web Authoring including animation, video, sound, QTVR, text, buttons . . . • Use of Storyboarding (Flow Diagramming) more critical.
  • 41. Non-Linear Storyboarding • Tracking the various screens, pathways, links, movies, sound effects, relationships, responses, escapes, clue relationships which affect future actions, detail level . . . Without a flow diagram, important elements can be misdirected, misinterpreted or missed altogether.