This is a Keynote used to explain my process to produce a series storyboard. Prepared during my time as a storyboard instructor at Sheridan College.

1. A General Theory of
Storyboarding

2. “First learn to be a
craftsman, it won't keep
you from being a genius”
Eugene Delacroix

3. The fundamentals
of boarding are easy.
The practice is hard.

4. The job of a board artist
on is to serve the
director’s idea of how the
story should be told.

5. The job of a board artist
on is to serve the
director’s idea of how the
story should be told.
And to make deadline.

6. The board is the first
visual slash at
getting the story told.

7. Boards get better in
revisions
with specific
instructions from the
director.

8. This how it started.

12. This how it evolved.

13. This how really looks.

14. REDACTED

16. STORYBOARD
A Method

17. 4 B’s
Blank
Blue
Black
Back & Forth

18. Blank

20. Read the bible.
Always ask for one.
Blank
No rights reserved.

21. No rights reserved.

22. No rights reserved.

23. Read the script.
(Mark it up)
Blank

25. Study the character models and locations
GET SIZE RELATIONS!
Blank
No rights reserved.

26. No rights reserved.

27. No rights reserved.

28. PLAN
REUSE
NOW
Blank

29. Talk to the director.
Get thumbnails on
specific ideas/shots.
Blank

30. LISTEN TO THE TRACK
Blank

31. Breakdown the script.
Think.
Don’t draw.
Blank

32. Read the bible.
Mark up the script.
Study the models.
Talk to the director.
Breakdown the script.
Blank

33. This is the hard part.
Blue

34. Blue
No rights reserved.

36. Don’t thumbnail.
Work size as.
Blue

37. Focus on the story.
LISTEN TO THE TRACK
AGAIN
Is the gesture and expression
furthering the story?
Does it link to action/acting that
happens later in the script.
Blue

38. Watch for staging/
composition within the
fld.
(Cropping)
Blue

39. Watch cutting continuity.
Eye trace.
Character position.
Look for jump cuts.
Blue

40. This is the hard part.
Don’t thumbnail.
Focus on the story.
Watch for staging/composition within the fld.
Watch cutting continuity.
Blue

41. Present to director.
Always get feedback.

42. This is the fun part.
Black

43. Black
No rights reserved.

45. Focus on
clear gesture/silhouette.
Black

46. Be specific about your
expressions.
Black

47. Watch for clichés.
Black

48. This is the fun part.
Focus on clear gesture/silhouette.
Be specific about your expressions.
Watch for clichés.
Black

49. Back & Forth
REVISIONS

50. Usually handled in house by
asst director or SB supervisor.
Rarely get handed back to
board artist.
Back & Forth

51. THIS IS
EVOLVING
WITH THE GENERAL
USE OF
STORYBOARD PRO