Storyboarding task c

Plan and Create Storyboards for a
Range of Moving Image Productions
Storyboarding for Digital Media: Task C

Peer Feedback
Shown here are examples of
some of the feedback received
from my peers in class. The
responses detail elements of my
planning that was structured well,
along with elements that could
be improved upon. The feedback
makes reference multiple times
to my accurate use of correct
terminology throughout my work,
which includes concept art and
drafts of various different types of
storyboard formats.

Most Suitable Storyboard Formats
Prior to the construction of the final storyboards for each respective genre, I experimented
thoroughly with various storyboard formats to ensure the most appropriate were sourced
and utilised in the final renditions of my storyboards. This consisted of the three-cell
portrait storyboard for the film, landscape six-cell format for the music video and similar
four-cell format for the video game. The chosen format for the film provided plenty of
room for additional detail and notes around the cells themselves, which are large enough
to be seen in detail themselves. Due to the music video relying more on sound through any
required descriptions rather than visuals, the cells are reduced in size, with six now present
on each page. This layout allows for more focus on the notes written around the cells,
whilst they themselves are still clearly visible. As for the video game layout, almost the
opposite is required, as this genre relies on a set path that a player must follow, meaning
visual reference is important. To compensate for this, four large cells are drawn per page,
so that further detail and design references can be seen throughout the imagery.

Final Short Film Storyboards
This is the storyboarding format that was chosen for my final
short film production and the following are samples of actual
storyboards used in production. Each page contains three cells,
which are drawn in great detail, with notes and annotations
concerning camera movement, sound, transitions and other
elements being present on and to the right of each respective
cell. The first of which is an over the shoulder shot of Anthony
as he enters the bar, allowing the audience to see the reactions
of the other characters clearly as the action takes place. In the
second cell, a close-up shot of Pete further showcases this, with
the movement “step back” noted through use of an arrow
pointing in the direction of the movement. The third cell shows
a wide shot of Anthony, with his ominous presence visualised
through his relaxed stance, while he stands in front of the only
exit from the bar.

The first cell here is a medium long shot of Anthony, following
on from the over the shoulder wide shot from the previous cell,
which also depicted the character. This is in order to focus the
attention of the audience onto this character, as his dialogue
will be overlaid across the various shots shown here. In the case
of the second cell, the reactions of both Benjamin and Spencer
are highlighted via a semi-closeup. The storyboard notes then
confirm that Pete is indeed present, although now off to the
left of the screen. The stern and aggravated expressions given
to the characters indicate the manner in which the interaction
will be presented on screen, clearly displaying emotions where
necessary. The third cell showcases Anthony once more,
although this time appearing closer towards the camera and
facing the characters in a more direct manner. The similarities
between these shot types help the flow of the scene.

This medium close-up shot of Pete shows the character to be
slightly obscured by the bar in front of him, a little of another
character’s shoulder is also visible to the right of the screen –
this helps to establish where all of the characters are located in
the minds of the audience members. The next cell shows the
character of Anthony picking up a bottle from the bar, before
drinking its entire contents in one shot. The depiction of the
character clearly demonstrates this, whilst a directional arrow
aids the fact that a specific motion is being carried out as the
bottle is lifted and drank from. The third cell is a repetition of
the previously analysed cell 3.5, this is used for consistency
during the back and forth nature of the conversations between
the characters. The production would not appear professional if
the shot types radically differed every time a shot changed, as
this would distract the audience and draw their attention away
from the narrative.

This cell shows Anthony once again as the focal point of this
medium shot, as he drops the glass bottle of alcoholic beverage
to the floor, whilst maintaining eye contact with the other
characters. All of these features are realised in the storyboard’s
depiction of the character here, as his eyes are focused whilst
his hand is raised, with the bottle in motion as it falls to the
ground. The movement of Anthony’s hand and the bottle is
once more symbolised through use of a directional arrow. The
shot then resumes to a familiarly angled shot of Benjamin and
Spencer, before transferring to a wide shot. This particular shot
lays the groundwork for the characters well, as it establishes
their characteristics visually through their clearly divided stance
upon facing one another. The fact that Anthony is alone, in
contrast to the other characters, establishes a sense of strength
in the character, which is clearly visible to the audience.

This close-up shot clearly defines the prop of significance to the
audience, as it is completely central and placed on the empty bar.
This cell depicts the item being dropped onto the bar from the
hand of a relaxed Anthony, who does so casually. This motion is
clearly demonstrated through an arrow which is drawn over the
top of the sketch, leading directly from the hand above to the
surface below. The next shot is angled at the side of the
characters’ features, allowing the audience to see various profiles
of these characters and their reactions. In the next cell,
annotations note that the shot switches focus from the board of
cufflinks behind Pete to the character himself. This camera
technique is known as a shift in depth of field, often being used to
visualise a character’s thoughts if they are thinking about an object
or person that is in close proximity to them. This is used here to
clearly flesh out the character of Pete to the audience.

The first cell on this page is present to clearly show Benjamin’s
reaction to the situation, this is done via a medium shot which
once again shows a side profile of the characters. Diegetic
sound is heard throughout this sequence as the characters
audibly interact with each other, this is referred to constantly
within the notes attached to the storyboards themselves. The
shot once again shifts to Anthony as his dialogue continues,
the positioning and angle of the shot clearly showcases his
attire, along with any gestures or other elements of physical
acting that may be provided in the actor’s performance.
Following this cell, the angle once again returns to the familiar
side profile, with the repetitive pattern bearing similarities to
the “shot reverse shot” technique often used to portray
conversations between two or more characters.

A medium close-up of Spencer is shown here to indicate the
significance of the dialogue he is currently speaking. The nature
of this shot allows the banter between these two characters to
become more personal, creating tension that should be felt by
the audience. The following wide shot of Anthony once again
displays his care-free attitude towards the other characters
through his relaxed posture. The positioning of the shot also
helps to reinforce that he stands alone, with all of the other
characters being somewhat cornered by his presence, due to
their respective positions across the bar setting. No fading
transition effects are used throughout this particular sequence
of storyboards, as the standard method of cutting straight from
shot to shot was determined to be more effective.

Final Music Video Storyboards
Following the feedback I received
previously, I took on board the
many suggestions given, as well
as bearing in mind what I had
done well and how to implement
those elements going forward. In
the case of the music video
format, I increased the amount of
detail in not only the drawings,
but the information given also.
The streamlined nature of the
design makes it easily accessible
to members of the production.

Final Music Video Storyboards
These storyboards are presented
through six cells across a page,
with each one being numbered
accordingly, alongside any
necessary descriptions / notes. The
arrows drawn across the cells
indicate both character and camera
movements that take place
throughout the scene. A variety of
shots, angles and transitions are
constantly noted throughout, with
this information being clearly
visible below each storyboard cell.

Final Video Game Storyboards
Video game storyboards vary
quite drastically in style when
compared to other genres. In the
case of a 2D platformer, this
means a lack of variation
between camera angles, with the
shot type remaining consistent
the majority of the time. As noted
in the storyboards themselves,
the shot tracks the main
character in this type of game –
this is therefore the only focus
regarding camera techniques.

Across the final storyboards,
many elements are drawn from
the narrative of the Affiliation
film concept, before being
brought into the music video and
video game counterparts. I used
some levels of artistic licence
when sketching out the video
game storyboard cells however, in
order to make the film elements
gel better with the genre. Once
again I clearly detail any shot and
location changes etc. throughout.

First of all, reference is made to
transitions as the character
enters the area depicted here.
Throughout the storyboard notes
I have listed when the diegetic /
non-diegetic music is introduced,
with examples of each consisting
of elements such as city
landscape sound effects and the
soundtrack that plays across the
duration of the level. Any changes
in shot type / movement are also
mentioned here where necessary.

Further references to the source
material are made here, as the
drinks previously sketched as
concept art for the short film are
present here, being utilised as
power-ups for the playable
character “Pete”. In my opinion
this works as a good balance of
film elements within the video
game genre. Finally, reference to
a closing transition is made in the
last cell - specifically a cross-fade,
this brings the level to a close.

Final Evaluation
Overall, I think that my storyboards follow the required standards of not only
industry professionalism but also their respective genres. I have experimented
with a wide range of styles and formats which ultimately led me to what I have
presented as my final product. As previously mentioned, I believe that the
formats I have chosen are the most appropriate for each of their respective
genres, with each one being presented in a convenient and accessible manner,
which is unique to each storyboard genre. All of the storyboards are presented
in a professional manner, equipped with all necessary information, notes and
annotations. All of these elements come together to create a fully fledged and
fit-for-purpose set of storyboards, which could be easily utilised in an actual film
production, video game or music video by industry professionals.

What Improvements could be made?
Perhaps further detail could have been added to the drawings within the
storyboard cells themselves, I think however that enough detail was provided
concerning the information beneath each cell. Now that I have established
appropriate storyboard layouts for each genre, production of any of these
storyboards would be significantly quicker in the future, which perhaps wasn’t
the case on this particular occasion. Also, I think there was sufficient physical
notes such as arrows visible, giving plenty of warning as to where things were
located across the storyboards. So I will bear in mind to keep on top of elements
such as this in any possible future storyboard renditions that I produce.

Storyboarding task c

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