The storyboard document discusses the purpose and history of storyboards. Storyboards are a creative pre-production tool used in film, television, games, and other media to plan visual sequences before filming. They help visualize ideas and communicate plans to production teams. The document then provides examples of storyboards from Doctor Who, Jurassic Park, and Super Mario Odyssey to illustrate how they are used in different media.

1. Storyboards – Convince the
Investors
Unit 18: Storyboarding for Digital Media

2. The Purpose of Storyboards
A storyboard is a creative tool used in the media pre-production of games as well as films. The process of storyboarding is part of the creative visualisation process, enabling the film
maker to plan visual sequences before committing to the expense of production. It is used to develop and express visual style and share it with the production team. It is a key planning
tool in working out the production design, the shooting script, how the film, TV show or game is to be constructed and is a vital document in post-production. Many creative professionals
prefer to start work with visual sequences before a written script is produced. The first person thought to have used storyboards is Leonardo da Vinci. However, in the late 1920’s the
popularisation of animated pictures helped make the use of the storyboard a mandatory exercise in modern cinema. These were often hand drawn and existing on paper with no real
detail.
Walt Disney and his artists reinvented the use of the storyboard in 1929 in the process of making the moving picture ‘Steamboat Willie’, the first animated cartoon feature. In the 1940’s
it then became a part of live action recordings. Some directors such as Joel and Ethan Coen would extensively storyboard and take it into pitches for new ideas as it gave the financers an
idea on exactly what their investments would produce. Animating directors are still the main users of extensive storyboards due to the amount of detail now used in animated scenes
with technological advancements.
Storyboards can now be computerised using digital sketches amongst other techniques. However, storyboarding now exists in more than just the film industry. Marketing companies,
fashion organisations and other businesses now use storyboards for their on-screen and online promotion materials. Along with technology, there will be advancements in the
presentation of storyboards; although I think it is too vital a planning procedure that many organisations will never fully eliminate. A storyboard acts as a visual flow chart of events that
will show from start to finish what a director intends to create on camera. Therefore, it would be difficult for this to be shown by any other means.

3. Television Storyboard
Above are nine tiles from a storyboard, originating from the pre-production of a television show – Doctor Who. The imagery used in the first tile is striking yet simplistic, emphasising the focus on
the astronaut as it emerges from the simplistically drawn lake backdrop. The fact that these two elements clash is what will eventually go on to stand out in the eyes of the audience, hence the
lack of description here due to the visual impact. The next tile shows a wide shot of the main cast of characters, their reaction to the situation, whilst helping to further establish the scenery; this
ensures that the production crew have sufficient reference to go off upon realising the storyboards, with the artists vision hopefully delivered to the audience as intended. The following tile reads
“low angle astronaut”, simply referring to the desired camera angle, as the imagery has already been established; the camera angle itself is obviously intended to create a sense of dominance and
provoke fear, as well as create a sense of intrigue – due to the obscured face behind the darkened glass visor, which is deliberately detailed in the storyboard. The next details that this shot
should be low, most likely to be in line with the other characters’ vision, “distant” is specifically detailed to further emphasise this, whilst also creating a shot with artistic appeal. After this, it is
detailed that “the astronaut starts to lift up its helmet” before a cut is specified, heavily enforcing the mystery surrounding the character, and the events that will transpire because of this
character’s bizarre nature. In the next tile, it is noted that the camera shifts to the previous wide shot angle, specifying that this is to obscure the reveal of who is inside the suit; with the
audience, and the other characters present being the targets of this concept. The next two tiles are character reactions, taking place immediately after one another – with their emotions being
displayed through the imagery itself rather than being described. The final two specify that FX are required, being the focus of these shots – labelled as “FX 1” and “FX 2” on their respective tiles.

4. Film Storyboard
The first image in this storyboard sequence, from Jurassic Park, shows a detailed close up shot of a Velociraptor’s eye. The notes below read “The steam vanishes - the raptor looks. And sees”, the
steam mentioned is due to director Steven Spielberg trying to portray the Dinosaurs as accurately as possible, with the steaming of the glass emphasising to the audience that the creatures are
indeed warm-blooded; this detail has clearly been transcribed to the storyboard effectively. The next shows a close up of two characters, the exaggerated fearful expressions clearly conveying the
required levels of emotion for the shot. In terms of notes, these describe the camera as being “close on Tim & Lex”, with “TRACK-IN” emphasised as the words are capitalised and boxed in; these
elements of the storyboard are obviously present to make the filming of the production as smooth as possible. The following shot is described as a “beauty shot” in the notes, this is due to it
being an iconic and highly significant shot, with notes that it should be “backlit” also, emphasising this further; this is also shown in the image itself, as significant light can be seen coming from
outside of the door. The next tile shows a detailed close-up of one Raptor, whilst the other follows after, this is noted to be a low angle shot which focuses on the second Raptor’s movements
primarily. The reasoning behind this angling of the shot, is most likely to make the creatures appear intimidating, whilst also putting the audience in the shoes of the characters, who are not only
children, but have to crawl around the kitchen to avoid the Raptors. The director, Steven Spielberg, used a similar technique in another of his infamous films – E.T, with most of the scenes being
shot from a low perspective as if viewed in the eyes of a child. The following tile depicts the first wide shot of the location, establishing exactly where the characters stand; arrows are present to
coincide with the description of the Raptors splitting directions – pointing to the desired direction of each Raptor. Knowing where the characters are supposed to be at what time helps with the
general continuity and communication between members of the production team; pots and pans are also visible in this drawing, which come into play several shots afterwards.

5. Film Storyboard
In the sixth tile, there are more notes present than usual due to the complex requirements of the shot; it describes hearing the “click-clacking” of the Raptors’ claws in the background,
before being shown, meanwhile the hands of the kids should be heard and seen in an attempt to get away in the foreground – the camera is described as panning across as this all takes
shape. The notes corresponding to the next tile clearly states that the pan continues from the last shot into this one, an arrow is also present showing the direction in which the camera
will pan – noting that it should follow the speed of the kids. This is another example of a somewhat complex yet well planned shot, with all of the depictions thus far appearing consistent
with each other, featuring the appropriate details whenever relevant – with the general look and feel of the scene shown translating very accurately into the final production. The next
shot shows a close-up shot of the two Raptors, featuring agitated expressions, along with “ marks to emphasise both this and their intrigue. An arrow directs in which directions their
heads should lift to, with a brief descriptions of the Raptors’ actions in the notes. The next continues to plan out the directions in which the characters will go, this is important due to the
fearful and claustrophobic tone that is the aim of the scene. The camera is set to slowly pan up and out for this, following the action as it carries on across the confined kitchen set. The
actions of the characters are intricately described for the last storyboard tile shown here, as the pace of the action and tense atmosphere is set to rise; it is noted that this is also a dolly
shot, most likely to keep up with all of the elements transpiring.

6. Game Design Storyboard
The image above is a GIF, and can be viewed as such in PowerPoint’s slideshow mode; it shows a direct comparison between the original storyboard and the finalised cutscene of the 2017 game
Super Mario Odyssey. The imagery used for these storyboards appear to have a red hue to them, this may allude to the iconic red colouring of the protagonist, Mario. A difference between this
video game cutscene storyboard and a counterpart from film for example, is that they are less notes and descriptive elements present – at least in the case of this particular game, with little
dialogue spoken throughout deeming this unnecessary. Of course, many video game storyboards will require such descriptive elements, if they are more story-focused and contain extensive
dialogue, as well as further character interactions throughout. As the storyboard above progresses, directional arrows are drawn in blue to clearly demonstrate the direction of where key objects
are thrown and how this affects the central characters in each shot. Comparisons can be drawn from this to the previously analysed storyboards of Jurassic Park, where similar arrows displayed
the directions in which the Raptors and the protagonists would move – with the advance planning of this assisting future production elements, such as continuity across numerous shots. The
cartoon-esq visual style of the Mario series is maintained throughout the storyboard depictions, with exaggerated puffs of smoke and knockback residue present wherever deemed necessary.
Also in comparison to the film and TV storyboards, this game storyboard seems to be more accurately translated to what we see in the final product, with the final shots being specifically
reminiscent of each storyboard tile. The singular storyboard tile to the right comes from the trailer for the aforementioned game, as this involves a shot pre-rendered sequence; the blue arrows
and box present indicate that the camera should rapidly zoom outwards at this point, along with notes that the background music “BGM” should kick in at this point also.