#animation #film #storyboard #directing #ScreenwritingTwitter #art #drawing #cartoon #cartoons #CartoonArt #storytelling #storyteller #Animations #animation2d #animation3d #tutorial #Students #filmstudent #animationstudent
STORYBOARDING 101
with
John "F" Fountain
cont.
STORYBOARDING 101
with
John "F" Fountain
cont.
First...
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you'd like to support me - LIKE, SHARE, SPREAD THE WORD & SUBSCRIBE TO MY YOUTUBE CHANNEL!
on to the tutorial...
youtube.com/channel/UCFkuF…
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you'd like to support me - LIKE, SHARE, SPREAD THE WORD & SUBSCRIBE TO MY YOUTUBE CHANNEL!
on to the tutorial...
youtube.com/channel/UCFkuF…
INTRODUCTION
Storyboarding is hard.
Really, really, REALLY hard.
Twenty-Five years ago I went in for a job interview at Klasky Csupo for a character design gig and met with Mitch Watson - a producer for their new show, “The Wild Thornberrys”.
cont.
Storyboarding is hard.
Really, really, REALLY hard.
Twenty-Five years ago I went in for a job interview at Klasky Csupo for a character design gig and met with Mitch Watson - a producer for their new show, “The Wild Thornberrys”.
cont.
Mitch and I had become acquainted earlier at an animation convention where he reviewed my work and was (to my shock) impressed with my portfolio.
cont.
cont.
I had moved to Los Angeles only a couple of months prior to this, and was working as a ‘general artist’ at a small CD-Rom production company, but I was eager to break into “real cartoons” - consequently, this interview was extremely important to me.
cont.
cont.
After an almost surrealistically upbeat interview, Mitch hit me with the bad news:
They didn’t need any character designers.
They needed storyboard artists.
“Can you do storyboards?” he asked.
cont.
They didn’t need any character designers.
They needed storyboard artists.
“Can you do storyboards?” he asked.
cont.
This was one of those “crossroads” moments where I considered just owning up to the truth and saying, “Not really” - which would have meant returning to CD-Roms (an industry that was already on borrowed time)...
cont.
cont.
...and staying in my very safe, slow, comfortable lane of seeking jobs that were completely unchallenging and unrewarding.
But, for whatever reason - in that moment - I decided to swerve abruptly into the fast lane.
cont.
But, for whatever reason - in that moment - I decided to swerve abruptly into the fast lane.
cont.
“Absolutely,” I said, lying through my teeth.
If someone had told me that this lie would lead to a life of almost unbroken marathon storyboarding, I might have just walked away..
cont.
If someone had told me that this lie would lead to a life of almost unbroken marathon storyboarding, I might have just walked away..
cont.
But then I’d never have known how gratifying it can be to hold a story in the palm of my hand and bend it to my selfish will.
So… why did I stick with it?
What IS “storyboarding”?
cont.
So… why did I stick with it?
What IS “storyboarding”?
cont.
It would almost be easier for me to write an introduction explaining what storyboarding ISN’T than to try summing up what storyboarding IS.
But what it “is” is HARD.
Really, really, REALLY HARD!
cont.
But what it “is” is HARD.
Really, really, REALLY HARD!
cont.
The closest possible comparison I can make is to that of an architect.
Storyboard artists are to animation what architects are to skyscrapers.
cont.
Storyboard artists are to animation what architects are to skyscrapers.
cont.
A designer may very well say “I’ve designed a building that looks like a giant cowboy boot!” and, subsequently, a financier may well say “I wish to fund the construction of this building shaped like a cowboy boot!”…
cont.
cont.
...an architect is then tasked with figuring out how to make a building look like a cowboy boot.
Sounds simple - right?
Wrong.
What about plumbing? Electricity? Materials? Where will this building be erected? What are the weather conditions like in that area?
cont.
Sounds simple - right?
Wrong.
What about plumbing? Electricity? Materials? Where will this building be erected? What are the weather conditions like in that area?
cont.
And that’s just scratching the surface. But you get the idea.
Storyboards began as a way of simply blocking out staging - back when productions were handled entirely “in-house” and everyone worked with everyone on making “the cartoon.”
Things have changed dramatically.
cont.
Storyboards began as a way of simply blocking out staging - back when productions were handled entirely “in-house” and everyone worked with everyone on making “the cartoon.”
Things have changed dramatically.
cont.
Ideally, a qualified storyboard artist should be proficient in virtually ALL of the disciplines that go into creating an animated film.
You’re often expected to work without reference material or even designs. Oftentimes, you are expected to “punch up” the humor or drama.
cont.
You’re often expected to work without reference material or even designs. Oftentimes, you are expected to “punch up” the humor or drama.
cont.
So, as a storyboard artist in today’s world, you’re expected to be a writer, director, character designer, background designer, timing director, choreographer and actor (as you are responsible for every part of a character’s acting except the voice).
cont.
cont.
You are generally expected to work at breakneck speeds under oppressively unrealistic deadlines.
Whether you are storyboarding an episode, a sequence, or an entire film, you ARE the “thing” you create. You LIVE in it.
cont.
Whether you are storyboarding an episode, a sequence, or an entire film, you ARE the “thing” you create. You LIVE in it.
cont.
Every line, every pose, every camera tilt, every detail is a sheer act of will on your part.
It’s draining.
So why do it? Why subject yourself to this kind of torture?
cont.
It’s draining.
So why do it? Why subject yourself to this kind of torture?
cont.
I can only speak for myself… but when I saw my first episode of “The Wild Thornberrys” in its animated form and I witnessed the symphony of motion and action I had composed, it was utterly intoxicating and highly addictive.
cont.
cont.
I was no longer satisfied to simply draw a character and hand it off.
I NEEDED to manipulate characters and make them perform for me - echoing tiny fragments of my own deepest personality traits and observations on life.
That’s why I stuck with it.
cont.
I NEEDED to manipulate characters and make them perform for me - echoing tiny fragments of my own deepest personality traits and observations on life.
That’s why I stuck with it.
cont.
If you are interested in storyboarding as a career, I hope you have a similar mindset - because you won’t always enjoy the project you’re storyboarding for.
Many times you’ll hate it. And oftentimes you won’t get paid a fraction of what you should.
cont.
Many times you’ll hate it. And oftentimes you won’t get paid a fraction of what you should.
cont.
In my experience, you NEED to love it.
You need to NEED that storyboard as a vessel of your own artistic expression - regardless of what the project calls for.
cont.
You need to NEED that storyboard as a vessel of your own artistic expression - regardless of what the project calls for.
cont.
There is a little bit of “me” in every storyboard I’ve ever done… and I’ve done a LOT of storyboards. So - out there in the world - my “voice” can be “heard” in a thousand different cartoons… you may not notice it, but it’s there.
cont.
cont.
And I find that immensely satisfying.
So… to summarize:
Storyboarding CAN be immensely satisfying.
But it’s really, really, REALLY hard.
Zig-a-Zig-AH, Party People!
TOMORROW:
'The Preface' (insert groans of disappointment)
So… to summarize:
Storyboarding CAN be immensely satisfying.
But it’s really, really, REALLY hard.
Zig-a-Zig-AH, Party People!
TOMORROW:
'The Preface' (insert groans of disappointment)
P.S.
If you're asking yourself, "Who's this guy think he is?" you can check out my IMDB page... it's mostly accurate although I truly don't recall ever working on SpongeBob in any capacity or I'd never shut up about it.
imdb.com/name/nm1247501…
If you're asking yourself, "Who's this guy think he is?" you can check out my IMDB page... it's mostly accurate although I truly don't recall ever working on SpongeBob in any capacity or I'd never shut up about it.
imdb.com/name/nm1247501…
#animation #film #storyboard #directing #cartoon #cartoons #CartoonArt #storytelling #tutorial
STORYBOARDING 101
with
John "F" Fountain
PREFACE
or
"It's not you - it's ME!"
Don’t ya hate it when something has both an Introduction AND a Preface?
Well, TOO BAD!
cont.
STORYBOARDING 101
with
John "F" Fountain
PREFACE
or
"It's not you - it's ME!"
Don’t ya hate it when something has both an Introduction AND a Preface?
Well, TOO BAD!
cont.
First...
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you'd like to support me - LIKE, SHARE, SPREAD THE WORD & SUBSCRIBE TO MY YOUTUBE CHANNEL!
youtube.com/channel/UCFkuF…
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you'd like to support me - LIKE, SHARE, SPREAD THE WORD & SUBSCRIBE TO MY YOUTUBE CHANNEL!
youtube.com/channel/UCFkuF…
It must be noted right here and now that all of the instruction, advice and opinion that emerges from this tutorial are ENTIRELY based on MY experience and observation.
Those are my ONLY sources.
cont.
Those are my ONLY sources.
cont.
To be sure, I will reference other materials, but I could have just as easily titled this tutorial, “How to storyboard the John Fountain way!”
But who the hell is ‘John Fountain’ and why would I put his name in the title?
cont.
But who the hell is ‘John Fountain’ and why would I put his name in the title?
cont.
My point is, if you read something you disagree with, I would encourage you to first imagine that every single sentence of this tutorial begins with “It has been MY experience…”
That is to say...
cont.
That is to say...
cont.
...while I welcome any and all discourse in the comments, but let’s not waste our time haggling because your experience was different from mine, shall we?
cont.
cont.
In an attempt to avoid tangents and unnecessary confusion, I will be speaking about storyboarding as it pertains to animation - specifically, and most frequently, within the context of features and television.
cont.
cont.
I don’t intend to explore “the history of storyboarding” because that’s been done by much better authors than myself - and while I will undoubtedly reference them from time to time, I will never say ...
cont.
cont.
“YOU MUST READ THIS!” about anyone else’s work - because 99% of what I learned about storyboarding happened ON THE JOB in real time.
Which, I believe, is why I may have a unique perspective on storyboarding as a whole. I didn’t attend a film school, or an animation school… nor did I aspire to work in animation...
cont.
cont.
...so, by “stumbling” into storyboarding as a career, I gained a perspective that is free of “legacy philosophies” or “traditions.”
I just learned to do the job and do it well enough to stay employed.
cont.
I just learned to do the job and do it well enough to stay employed.
cont.
Make no mistake - at its core, storyboarding IS, above all other things, STORYTELLING, and the ideas behind this tutorial can be applied to practically all narrative art forms.
You would do well - as a potential storyboard artist...
cont.
You would do well - as a potential storyboard artist...
cont.
... - to study MANY forms of storytelling and learn from all of them - books, film, theater, music, television, video games and even puppetry ALL have storytelling techniques to learn from.
cont.
cont.
I will be playing fast and loose with the writing in this tutorial. In other words: EXPECT TYPOS!
I intend to be concise, but I also intend to whittle out these chapters in fast little bits to make them easier to consume.
cont.
I intend to be concise, but I also intend to whittle out these chapters in fast little bits to make them easier to consume.
cont.
I won't be using page numbers or anything of the sort… if you’re reading this at all, I expect that you’re serious about learning what I have to say, and you’ll simply follow along and know when I’m finished with each installment by my trademark “Zig-a-Zig-AH!” at the end.
cont.
cont.
As with everything I do, I will attempt to be as entertaining as possible and festoon each installment with illustrations when they are relevant or needed, but this tutorial is intended for the SERIOUS READER who is interested in learning my perspective on the craft.
cont.
cont.
If it also happens to be entertaining, that will be preferable, but coincidental.
That said, my intention is not only to teach to potential storyboard ARTISTS, but also to WRITERS who wish to gain an insight on the medium they might not have considered before.
cont.
That said, my intention is not only to teach to potential storyboard ARTISTS, but also to WRITERS who wish to gain an insight on the medium they might not have considered before.
cont.
Indeed, it can be nothing but beneficial for ANYONE wishing to work understand this extremely important part of the pipeline.
If more people in the industry understood storyboarding, animation would be a better industry all around.
cont.
If more people in the industry understood storyboarding, animation would be a better industry all around.
cont.
I welcome all feedback - but PLEASE Direct Message me with any questions or concerns, and if it seems relevant, I will bring it up in the body of the tutorial to “share with the rest of the class.”
cont.
cont.
I’ll be conducting the tutorial under three assumptions:
cont.
cont.
1) Some degree of cursory drawing ability is present (this is NOT going to be a drawing tutorial).
2) A script exists and that you are not simply making it up as you go along.
3) The storyboard artist (“you”) is working in a professional capacity and not just for “fun.”
cont.
2) A script exists and that you are not simply making it up as you go along.
3) The storyboard artist (“you”) is working in a professional capacity and not just for “fun.”
cont.
I aspire to provide ONE chapter per week - hoping that you will allow each chapter to sink in within each week.
Also, this schedule will be "life permitting" - that is to say, I have a LOT going on, so if I get delayed for some reason, please forgive me.
cont.
Also, this schedule will be "life permitting" - that is to say, I have a LOT going on, so if I get delayed for some reason, please forgive me.
cont.
If you have, indeed, read both the introduction and this preface, you are definitely ready for what lies ahead.
NEXT CHAPTER:
"BOARD MY STORY!"
Zig-a-Zig-AH, Party People!
NEXT CHAPTER:
"BOARD MY STORY!"
Zig-a-Zig-AH, Party People!
#animation #film #storyboard #directing #cartoon #cartoons #CartoonArt #storytelling #storyteller #tutorial
STORYBOARDING 101
by
John "F" Fountain
all original material copyright and trademark John Fountain 2023 all rights reserved
CHAPTER ONE:
“BOARD MY STORY!”
cont.
STORYBOARDING 101
by
John "F" Fountain
all original material copyright and trademark John Fountain 2023 all rights reserved
CHAPTER ONE:
“BOARD MY STORY!”
cont.
First:
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you want to support me - RETWEET, LIKE, SHARE, SUBSCRIBE TO MY YOUTUBE CHANNEL and SPREAD THE WORD!
on to the tutorial...
youtube.com/@fountainspenc…
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you want to support me - RETWEET, LIKE, SHARE, SUBSCRIBE TO MY YOUTUBE CHANNEL and SPREAD THE WORD!
on to the tutorial...
youtube.com/@fountainspenc…
In the beginning, there was nothing…
And then someone hands you a script. Or an outline. Or SOMETHING that needs a storyboard.
NOW what?!
Well, it might be a good idea to READ it. That seems obvious But THEN what?
cont.
And then someone hands you a script. Or an outline. Or SOMETHING that needs a storyboard.
NOW what?!
Well, it might be a good idea to READ it. That seems obvious But THEN what?
cont.
When you read a script for the first time, have your sketchbook (or whatever… sketchbook, tablet, phone app etc.) at the ready, because often times - even on the first pass of reading it...
...you will probably come up with ideas as the words are hitting your brain - and the frustrating thing about ideas is that if you lose them, they tend to disappear FOREVER!
And you don’t want that.
So - have your ‘doodling station’ in the upright and locked position.
cont.
And you don’t want that.
So - have your ‘doodling station’ in the upright and locked position.
cont.
This is your chance to draw in tandem with the story and put down absolutely anything and everything that comes to mind without having to worry about following rules (…And oh sweet merciful heaven… there are RULES! Lots of them! But that’s another chapter…).
cont.
cont.
This is your chance to just “be an artist” and free-form everything without making it “pretty.”
Enjoy this time while it lasts.
Scribble down facial expressions, poses, ideas, questions, concerns, etc. Keep DETAILED notes and HANG ON TO THEM!
cont.
Enjoy this time while it lasts.
Scribble down facial expressions, poses, ideas, questions, concerns, etc. Keep DETAILED notes and HANG ON TO THEM!
cont.
Even if what you’re drawing seems completely random and disconnected, it can be a “gateway drawing” to other ideas that come in handy later.
Okay, so you’ve read it once and you’ve got (hopefully) pages and pages and pages of notes and doodles.
cont.
Okay, so you’ve read it once and you’ve got (hopefully) pages and pages and pages of notes and doodles.
cont.
So now we get to the REAL storyboarding, right?
Nope… sorry…
READ IT AGAIN!
You are not there to simply transcribe the script into picture form.
YOU ARE NOT AN ILLUSTRATOR!
You’re going to be LIVING this story for the foreseeable future...
cont.
Nope… sorry…
READ IT AGAIN!
You are not there to simply transcribe the script into picture form.
YOU ARE NOT AN ILLUSTRATOR!
You’re going to be LIVING this story for the foreseeable future...
cont.
…so it’s time to take a deeper dive into it… try to discern what it’s “about.”
I’m not talking about the “plot”… I mean, what’s it ABOUT?!
cont.
I’m not talking about the “plot”… I mean, what’s it ABOUT?!
cont.
For instance, the “Plot” of ‘Iron Giant’ is that a robot falls from space and lands in a small town where it befriends a boy named Hogarth.
But what it’s “ABOUT” is much, MUCH bigger than that… it asks the question:
“What if a gun had a soul?”
!!!???
WOW, right?!
cont.
But what it’s “ABOUT” is much, MUCH bigger than that… it asks the question:
“What if a gun had a soul?”
!!!???
WOW, right?!
cont.
Suddenly this all becomes more complex…
Every story has something like “that” in it - whether it’s intentionally or unintentionally - and one of your jobs is to find out what “that” is and then, ultimately, figure out a way to convey it effectively and entertainingly.
cont.
Every story has something like “that” in it - whether it’s intentionally or unintentionally - and one of your jobs is to find out what “that” is and then, ultimately, figure out a way to convey it effectively and entertainingly.
cont.
(By the way, if you can’t find “that” - PUT IT IN YOURSELF!)
As a storyboard artist, you are a filmmaker and storyteller… you aren't called upon to passively sketch out whatever is written in the script…
cont.
As a storyboard artist, you are a filmmaker and storyteller… you aren't called upon to passively sketch out whatever is written in the script…
cont.
...you need to make decisions that will help that script COME ALIVE and go from being IDEAS to ACTIONS!
And this brings us to the most important point of this chapter:
THINK ABOUT YOUR AUDIENCE!
cont.
And this brings us to the most important point of this chapter:
THINK ABOUT YOUR AUDIENCE!
cont.
What is the primary function of this story? Is it meant to be entirely funny or is there a nugget of wisdom baked in the cookie? How can you best frame that? How can you make it even more poignant with your visuals?
cont.
cont.
Do you want your audience to “get the point” right away or do you want to subvert expectations?
What if it’s an action or suspense story? How do you manipulate the audience into feeling the maximum thrill you’re looking for?
cont.
What if it’s an action or suspense story? How do you manipulate the audience into feeling the maximum thrill you’re looking for?
cont.
Do you SMACK them across the face with a balls-out fight scene right away to GRAB their attention? OR do you “slow burn” your story so that when the shit hits the fan they’re unexpectedly blown away?
cont.
cont.
This is a part of storyboarding that I really enjoy… once I’ve got my bearings on what the “message” of the story is, I like to think of ways to mess with the viewer’s head and really tweak with their emotions.
cont.
cont.
For instance, if you’ve got a really, really intense scene near the end, you might want to spend a significant amount of time in the middle making it seem like everything is calm and all is right with the world.
cont.
cont.
Then - out of nowhere - BAM! All hell breaks loose and your reader is JARRED like that first big drop on a roller coaster!
Of maybe you’ve got a really sad scene…
cont.
Of maybe you’ve got a really sad scene…
cont.
you can draw it out… drag out the emotion… make your viewer WRITHE in pain… and then - BAM! You crack a gag that gets ten times the laugh it would have gotten otherwise ...
cont.
cont.
...because now it not only breaks the tension, but gives your viewer the blessed catharsis you practically made them beg for.
These are the “broad strokes.”
You will be hearing me use the term “broad strokes” and “fine strokes” a lot.
cont.
These are the “broad strokes.”
You will be hearing me use the term “broad strokes” and “fine strokes” a lot.
cont.
It’s a term in art used to describe the process where you start a painting by first beginning with large-brush to put in… well… the BROAD STROKES - that is to say, you don’t begin to paint the Mona Lisa by drawing her smile…
cont.
cont.
...first you lay out the sky and ground, then the trees, then her tunic, then the shape of her head and chest and hand, etc. etc. etc.
You start BIG and work your way to small.
It’s similar to the principles behind sketching…
cont.
You start BIG and work your way to small.
It’s similar to the principles behind sketching…
cont.
...you don’t draw a pose hoping to just “get it right” with the first stroke of your pencil… you scribble, you do gestures, you erase, you start over, you generally “rough it out” before attempting any amount of detail.
cont.
cont.
Same goes to storyboarding a script.
To return to the architect analogy, you lay the FOUNDATION before you pick out the curtains.
Anyway - you’ve now read the story twice and let’s say you’ve kinda got a “groove” on the best way to convey the story…
To return to the architect analogy, you lay the FOUNDATION before you pick out the curtains.
Anyway - you’ve now read the story twice and let’s say you’ve kinda got a “groove” on the best way to convey the story…
...you know how you want to manipulate your audience… but it’s STILL not time to start actually storyboarding.
cont.
cont.
Now, I can almost hear you saying, “F, you madman! All we ever hear about are tight deadlines and frantic schedules! How can we waste this much time before we even begin boarding?!”
Ah, but that’s just it, my darlings… this is NOT “wasted time”… this is time well spent.
cont.
Ah, but that’s just it, my darlings… this is NOT “wasted time”… this is time well spent.
cont.
Time you spend now working stuff out will save you immeasurable amounts of time down the road when you need it the most. Scribbling down notes and stick figures takes mere seconds to rewrite and erase, whereas starting whole scenes over again will make you beg for death.
cont.
cont.
Now is the time where you go through the script AGAIN - but this time your goal is to work out the overall “physical direction” the visuals will take.
For example...
cont.
For example...
cont.
, if your characters are on a quest to get to a castle somewhere far away, you will want to decide what that path is going to be like and make a decision - will they be heading east, west, north or south? Whichever direction you choose...
cont.
cont.
...you should decide what SCREEN DIRECTION you will be using that will indicate that they are headed towards their goal.
Let’s say the characters need to travel east to get to the castle…
cont.
Let’s say the characters need to travel east to get to the castle…
cont.
...I would have them, for the entirety of the episode, moving from left to right whenever we see them traveling towards their goal… if they become sidetracked, we break that direction which causes the viewer to - along with our characters - become slightly disoriented.
cont.
cont.
Then, when the crisis is averted, they return to their left-to-right trajectory and we regain the familiar feeling that we’re heading on the correct path.
I often like to draw out what a “pirate map” showing the overall path of the story’s action.
cont.
I often like to draw out what a “pirate map” showing the overall path of the story’s action.
cont.
You need to make these kinds of decisions early in the process, because you will rely on them as pillars of your storyboard as you proceed.
But this is the time to work out ALL LOGISTICAL ISSUES...
cont.
But this is the time to work out ALL LOGISTICAL ISSUES...
cont.
...because you don’t want to be 9/10ths done with your cleanup storyboard and suddenly find yourself saying, “Wait… this doesn’t work!”
Everything I’ve described could be classified as “broad strokes” and I cannot stress enough how important it is to work in this fashion.
cont.
Everything I’ve described could be classified as “broad strokes” and I cannot stress enough how important it is to work in this fashion.
cont.
Once you start storyboarding and you have to worry about things like staging, perspective, camera movement, character acting and poses, you’re NOT going to have time to think about whether or not all of the plot pieces fit together.
cont.
cont.
All of this preliminary work will not only save you time in the long run, but these are the details that make a storyboard exceptional. You’re not just a stenographer - you’re creating a BOND between you, the story and your viewer.
cont.
cont.
And YOU thought it was just filling in little boxes with drawings, huh?
Zig-a-Zig-AH, Party People!
NEXT WEEK:
CHAPTER TWO - “DA RULES!” (oh no!)
Zig-a-Zig-AH, Party People!
NEXT WEEK:
CHAPTER TWO - “DA RULES!” (oh no!)
ALSO!
#animation #film #storyboard #directing #cartoon #cartoons #CartoonArt #storytelling #tutorial
STORYBOARDING 101
by
John "F" Fountain
CHAPTER TWO:
DA RULES!
Rules… what a pain, right? Nobody likes RULES, man! Especially us artists!
Right? RIGHT?!
Well, yes and no…
cont.
STORYBOARDING 101
by
John "F" Fountain
CHAPTER TWO:
DA RULES!
Rules… what a pain, right? Nobody likes RULES, man! Especially us artists!
Right? RIGHT?!
Well, yes and no…
cont.
First...
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you'd like to support me - LIKE, SHARE, SPREAD THE WORD & SUBSCRIBE TO MY YOUTUBE CHANNEL!
youtube.com/channel/UCFkuF…
on to the tutorial...
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you'd like to support me - LIKE, SHARE, SPREAD THE WORD & SUBSCRIBE TO MY YOUTUBE CHANNEL!
youtube.com/channel/UCFkuF…
on to the tutorial...
Good storyboarding comes with an abundance of “rules.”
But, as is so often the case with rules, they exist to protect you.
“Protect me from what?” you ask?
BAD STORYBOARDING!
Remember the first thing I taught you? DON’T BE SHITTY!
cont.
But, as is so often the case with rules, they exist to protect you.
“Protect me from what?” you ask?
BAD STORYBOARDING!
Remember the first thing I taught you? DON’T BE SHITTY!
cont.
If you are committed to doing shitty storyboards, feel free to skip this chapter. I promise, it gets funner in Chapter 3.
But if you want to be a GOOD storyboard artist, you will not only read this chapter...
cont.
But if you want to be a GOOD storyboard artist, you will not only read this chapter...
cont.
...but you will read it repeatedly, practice the examples therein and apply them to your entire way of thinking creatively.
I’m not going to lie… this chapter is EXTREMELY technical, and these rules came as a shock to me when I learned them.
cont.
I’m not going to lie… this chapter is EXTREMELY technical, and these rules came as a shock to me when I learned them.
cont.
I found them confusing and difficult to follow. Moreover, I assumed that the brilliance of my own “instincts” were enough to get by on.
I couldn't have been more wrong and - in retrospect - I’m embarrassed by my arrogance.
What I’m saying is:
DON’T BE SHITTY LIKE I WAS!
cont.
I couldn't have been more wrong and - in retrospect - I’m embarrassed by my arrogance.
What I’m saying is:
DON’T BE SHITTY LIKE I WAS!
cont.
Study this chapter. Learn these rules. Practice them. Apply them. Make mistakes. Correct those mistakes. Keep doing this until it becomes second nature.
Eventually, you will find that the rules no longer bother you...
cont.
Eventually, you will find that the rules no longer bother you...
cont.
, but - rather - you’ll be GRATEFUL for them because they help you narrow down your course of action by saying, “Look… you have Path A or Path B… those are your only choices… which will it be?”
cont.
cont.
When you’re on a path, no matter how lost you are, at least you’re on a path and not wandering aimlessly.
cont.
cont.
In the previous chapter, I encouraged you to delve into the message that your story is trying to convey… to find the “soul” of your story.
We did this because now we must take something wholly ethereal and forge it into something tangible that we can show to others.
cont.
We did this because now we must take something wholly ethereal and forge it into something tangible that we can show to others.
cont.
It’s time to translate the soul of the story into… what?
Images? Pictures? Drawings?
Sure… but those drawings are not mere illustration - they are a vessel with which to convey a dizzying array of information - from where a character IS to what they're FEELING.
cont.
Images? Pictures? Drawings?
Sure… but those drawings are not mere illustration - they are a vessel with which to convey a dizzying array of information - from where a character IS to what they're FEELING.
cont.
Storyboarding, like a language, is a form of communication… you’ve just been handed a set of “ideas” - many of which exist only as an abstraction.
“The hero swings across the gorge on a rope” are just words that describe an idea…
cont.
“The hero swings across the gorge on a rope” are just words that describe an idea…
cont.
...you need to take them to the next level and plant these ideas into a viewer’s brain.
To relay these ideas effectively in a way that the viewer can comprehend (and hopefully enjoy) you need to first become fluent in the language that you intend to speak ...
cont.
To relay these ideas effectively in a way that the viewer can comprehend (and hopefully enjoy) you need to first become fluent in the language that you intend to speak ...
cont.
...and that language is the visual language we call “film.”
Film, as a language, has rules: syntax, grammar, spelling and myriad other “tools” that have been tried, tested and proven useful for over a century.
cont.
Film, as a language, has rules: syntax, grammar, spelling and myriad other “tools” that have been tried, tested and proven useful for over a century.
cont.
Obviously, these rules of communication are not “enforced” by some governing body - but certain techniques have shown themselves to be universal in their efficacy (i.e. “Jump Scares” cause you to… well… jump scared!)
cont.
cont.
We need to think not only about the viewer as a person, but as someone with a brain that follows certain patterns. When the brain becomes confused, bored, agitated or overworked, a viewer will take their brain elsewhere to engage with something more appealing.
cont.
cont.
Jabbering aimlessly in gibberish to someone will usually cause them to walk away or at least stop listening. Similarly, you could recite a beautiful poem to someone, but if you do it in a language they don’t understand, they will - eventually - become disinterested as well.
cont.
cont.
This is why we treat film like a language… we are attempting to convey a message to an audience - and to each audience member, the only member of the audience is themself.
cont.
cont.
Therefore, we must speak our language in a way that “speaks” not only to the audience as a whole, but to each individual in that audience.
In order to achieve this, we must speak CLEARLY… and in order to speak clearly, we must maintain CONSISTENCY…
cont.
In order to achieve this, we must speak CLEARLY… and in order to speak clearly, we must maintain CONSISTENCY…
cont.
...and in order to maintain consistency, we follow these rules.
I’m going to be describing technical terms that are fairly universal - but I’m also coming at this from a “beginner” standpoint...
cont.
I’m going to be describing technical terms that are fairly universal - but I’m also coming at this from a “beginner” standpoint...
cont.
...that is, I’m not going to ASSUME that these terms are familiar to you, and I’m going to go over them and explain their uses in the same manner in which I learned them: FROM A PERSPECTIVE OF IGNORANCE.
cont.
cont.
Some who have experience in storyboarding or film may read this chapter and argue that I got certain things wrong - and they may be correct. But these are the terms and definitions that I, myself, personally use.
cont.
cont.
Should you become a storyboard artist, you will find that these terms are interchangeable with others depending on who you’re working for.
For instance, some will refer to the “scene” a sequence of events, whereas others will refer to it as a single “shot.”
cont.
For instance, some will refer to the “scene” a sequence of events, whereas others will refer to it as a single “shot.”
cont.
What is ubiquitous, however, is the presence of your “camera.”
I’ve said it many times already - intentionally - to make this point abundantly clear:
As a storyboard artist, YOU ARE NOT AN ILLUSTRATOR!
cont.
I’ve said it many times already - intentionally - to make this point abundantly clear:
As a storyboard artist, YOU ARE NOT AN ILLUSTRATOR!
cont.
When you sit down to draw a storyboard, you don’t think in terms of “I’m about to make a drawing of something”… you think in terms of “I’m about to film a sequence of events, and will ultimately use drawings to convey what those events look like.”
cont.
cont.
Your head… your eyes… your imagination… these are the “CAMERA” you use to “FILM” the story with.
When composing a storyboard, you should imagine that you are literally filming a live action movie.
cont.
When composing a storyboard, you should imagine that you are literally filming a live action movie.
cont.
As such, here are some of the most frequently used (and most important) terms you will need to familiarize yourself with:
cont.
cont.
SHOT/SCENE:
This is what you see through your “camera”… there may be other things going on around it, but this is where you have the camera pointed when it's “running” - in other words, you are seeing precisely what you intend the viewer to see when they watch your film.
cont.
This is what you see through your “camera”… there may be other things going on around it, but this is where you have the camera pointed when it's “running” - in other words, you are seeing precisely what you intend the viewer to see when they watch your film.
cont.
CUT:
A cut occurs when a scene has ended and you wish to shoot another one.
“Cut” refers to the act of “turning the camera off” so that you can move it elsewhere and begin another scene.
cont.
A cut occurs when a scene has ended and you wish to shoot another one.
“Cut” refers to the act of “turning the camera off” so that you can move it elsewhere and begin another scene.
cont.
For instance, if you’re watching a film and you see a person in an outside setting, then a second later you see the same person in an interior setting, the “thing” that occurred between those two “scenes” was a “cut.”
cont.
cont.
In a very virtual sense, a cut is when you shut the camera off, move it, and then turn it on again.
cont.
cont.
TRUCK/PAN/ZOOM:
Any camera movement that occurs within a shot without a cut. In any kind of truck/pan/zoom, the camera moves WITHIN the scene. Trucking can go in any direction and can follow a character or action anywhere and go on indefinitely until a cut is made.
cont.
Any camera movement that occurs within a shot without a cut. In any kind of truck/pan/zoom, the camera moves WITHIN the scene. Trucking can go in any direction and can follow a character or action anywhere and go on indefinitely until a cut is made.
cont.
STAGE:
Not to be confused with “scene”. Your stage is the “physical” area where you intend for the majority of the action within a sequence of events to take place, presumably events that are connected. It could be a small room or it could be an enormous stadium…
cont.
Not to be confused with “scene”. Your stage is the “physical” area where you intend for the majority of the action within a sequence of events to take place, presumably events that are connected. It could be a small room or it could be an enormous stadium…
cont.
...but within this stage, it is incumbent upon you as a storyboard artist to establish “where everything is” (i.e. the kitchen is to the left, the stairway is to the right, the sofa is in the middle).
cont.
cont.
SCREEN DIRECTION:
This is the motion of whatever is happening in a scene… are characters walking from left to right? Is the action occurring from up above in the sky? Screen direction can vary greatly from shot to shot, but it must always be DELIBERATE and INTENTIONAL.
cont.
This is the motion of whatever is happening in a scene… are characters walking from left to right? Is the action occurring from up above in the sky? Screen direction can vary greatly from shot to shot, but it must always be DELIBERATE and INTENTIONAL.
cont.
At this point you may be asking - “Why do I need to know all this stuff?”
The answer can be found by returning to the “language” analogy.
Storyboarding is not merely a language that you speak purely to “make your point”…
cont.
The answer can be found by returning to the “language” analogy.
Storyboarding is not merely a language that you speak purely to “make your point”…
cont.
...you’re attempting to do it in a way that is compelling to the person you’re communicating with - in this case, the viewer.
You may learn the basics of a language, and that will help you ask where the bathroom is or how much a pair of socks cost...
cont.
You may learn the basics of a language, and that will help you ask where the bathroom is or how much a pair of socks cost...
cont.
...but if you wish to recite POETRY in that language, you not only need to know the language fluently, you should be adept at its various accents, dialects and inflective subtleties.
The same goes for storyboarding.
cont.
The same goes for storyboarding.
cont.
But before you can hope to take full advantage of the language you’re speaking, you need to master the basics.
And so…
Before you begin truly drawing out a storyboard, you will want to calculate what your overall screen direction will be to best accommodate the action...
cont.
And so…
Before you begin truly drawing out a storyboard, you will want to calculate what your overall screen direction will be to best accommodate the action...
cont.
If you examine Fig1 and Fig2, you’ll see that I’ve established a scene in which three characters are standing side by side. The central red line represents your axis - the green half-circle represents your stage.
cont.
cont.
By establishing this arrangement, I have told the viewer “Here’s where everything is”.
For example, if you maintain your screen direction, Character 1 will ALWAYS be on the LEFT of the screen in relation to Characters 2 and 3.
cont.
For example, if you maintain your screen direction, Character 1 will ALWAYS be on the LEFT of the screen in relation to Characters 2 and 3.
cont.
If you were to BREAK the axis by suddenly putting the camera on the OPPOSITE side - see Fig2-B, suddenly Character 1 would be on the RIGHT of the screen.
This kind of inconsistency creates a jarring effect that can confuse your viewer…
cont.
This kind of inconsistency creates a jarring effect that can confuse your viewer…
cont.
...and ANY time a viewer has to stop and think - even subconsciously - “Wait a minute… I thought he was over THERE…” you’re creating a psychological interruption (a “speed bump” if you will) in the story you’re trying to convey.
cont.
cont.
When a scene is muddled and disorganized, even if it’s subtle, the human brain picks up on these things and if it happens frequently, an otherwise compelling story can seem confused and unpleasant for the viewer.
cont.
cont.
That is, you may be speaking the words of a poem, but you’re putting them in the wrong order and so all rhyme is lost.
You never want to force your viewer into “filling in the gaps” for you… you have their attention… if you lose it, you may never get it back!
cont.
You never want to force your viewer into “filling in the gaps” for you… you have their attention… if you lose it, you may never get it back!
cont.
But what if you NEED to cross the axis because the story demands it?
Well, if your camera is continuously FOLLOWING an action, it may cross the axis whenever you want because you are literally LEADING the viewer along the path visually.
cont.
Well, if your camera is continuously FOLLOWING an action, it may cross the axis whenever you want because you are literally LEADING the viewer along the path visually.
cont.
The connection between viewer and action is never broken, therefore no further visual “explanation” is necessary.
But if you need to cross the axis by cutting to another shot, you should follow these examples:
cont.
But if you need to cross the axis by cutting to another shot, you should follow these examples:
cont.
Figure 2- C demonstrates how to effectively “cross” the axis without causing confusion or "breaking" the axis.
We do this by “neutralizing” the shot - that is, we cut to a shot wherein all previous spacial relationships become .nullified.
Figure 2-A shows our original setup with Char. 1, 2, and 3 in their south-facing position...
cont.
Figure 2-A shows our original setup with Char. 1, 2, and 3 in their south-facing position...
cont.
...standing on the axis with the camera pointed directly at them and the field of action laid out in front of them.
If the script called for action to occur on the opposite side of the axis, we see in Fig.2-B that if we were to cut from Scene 1 to Scene 2...
cont.
If the script called for action to occur on the opposite side of the axis, we see in Fig.2-B that if we were to cut from Scene 1 to Scene 2...
cont.
If the script called for action to occur on the opposite side of the axis, we see in Fig.2-B that if we were to cut from Sc1 to Sc2, it would create a “popping” effect where - if shown as a film, the characters would seem to instantaneously “pop” to their opposite locales.
cont.
cont.
This, obviously, causes confusion.
In order to appropriately change the camera location to the opposite side of the original axis, you need to create a NEW axis ...
cont.
In order to appropriately change the camera location to the opposite side of the original axis, you need to create a NEW axis ...
cont.
- and in order to do that, as seen in Fig.2-C, you Cut from Sc.1 to Sc.2 only in this instance, Sc.2 is a closeup shot of Char.2 - which neutralizes the field.
cont.
cont.
It does this by virtue of excluding the relative locations of Chars. 1 and 3 from view while also eliminating the specificity of the background from Sc.1.
Once the field has been neutralized, we can Cut to Sc.3 where the camera has been placed on the opposite side...
cont.
Once the field has been neutralized, we can Cut to Sc.3 where the camera has been placed on the opposite side...
cont.
...and a NEW axis has been established.
Figures 3 and 4 demonstrate the same occurrence but with the character and background motion.
cont.
Figures 3 and 4 demonstrate the same occurrence but with the character and background motion.
cont.
In general, once a scene has been established, it is best to TRY and stay within the original field of action - but if it becomes necessary, the examples show how it can be done without taxing the viewer.
cont...
cont...
At the core of this lesson is establishing a direct relationship between you and the viewer.
You’re taking them on a journey… you need them to follow your lead and trust your judgement.
To do that, you need to draw the map and show them that you know what you’re doing.
cont.
You’re taking them on a journey… you need them to follow your lead and trust your judgement.
To do that, you need to draw the map and show them that you know what you’re doing.
cont.
So… are rules a bit of a hassle? Sometimes…
But these are the disciplines that give you the power to make your viewers more than just a bunch of passive, interchangeable drones - and, instead, an active participant in a sacred and ancient bond between artist and patron.
cont.
But these are the disciplines that give you the power to make your viewers more than just a bunch of passive, interchangeable drones - and, instead, an active participant in a sacred and ancient bond between artist and patron.
cont.
I know it's a lot to take in, which is why I would encourage you to read this chapter REPEATEDLY and STUDY it in earnest!
Zig-a-Zig AH, Party People!
NEXT WEEK:
CHAPTER THREE - “COMPOSITION”
Zig-a-Zig AH, Party People!
NEXT WEEK:
CHAPTER THREE - “COMPOSITION”
“Popping” = “Flopping”
#animation #film #storyboard #directing #cartoon #cartoons #CartoonArt #storytelling #storyteller #tutorial
STORYBOARDING 101
by
John "F" Fountain
CHAPTER THREE:
COMPOSITION
Okay…
cont.
STORYBOARDING 101
by
John "F" Fountain
CHAPTER THREE:
COMPOSITION
Okay…
cont.
...so you’ve read the script repeatedly, sketched out ideas, taken notes, worked out both the “soul” of the story as well as the “body” that soul will inhabit in the form of your mapped out plans for screen direction, following the rules of film language.
cont.
cont.
NOW it’s time to really start drawing out the storyboard… RIGHT?!
cont.
cont.
Well… yes and no…
cont.
cont.
But first...
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you'd like to support me - LIKE, SHARE, SPREAD THE WORD & SUBSCRIBE TO MY YOUTUBE CHANNEL!
youtube.com/channel/UCFkuF…
on to the tutorial...
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you'd like to support me - LIKE, SHARE, SPREAD THE WORD & SUBSCRIBE TO MY YOUTUBE CHANNEL!
youtube.com/channel/UCFkuF…
on to the tutorial...
Before you begin charging ahead with multiple panels, you need to give some thought to COMPOSITION.
“Composition” - as I’m using the term - refers to how you arrange everything within your shots… most importantly, your first shot… your “Establishing shot”.
cont.
“Composition” - as I’m using the term - refers to how you arrange everything within your shots… most importantly, your first shot… your “Establishing shot”.
cont.
Your first shot - or “scene” - will arguably be the most important one you compose, because needs to give the audience a reason to keep watching.
The first shot in any sequence of events needs to relay a tremendous amount of information in a short amount of time.
cont.
The first shot in any sequence of events needs to relay a tremendous amount of information in a short amount of time.
cont.
Fortunately, that’s what drawings are best at.
It’s easy enough to lazily draw a house and write: “Establishing Shot… exterior… house… night.” (See Fig.1)
cont.
It’s easy enough to lazily draw a house and write: “Establishing Shot… exterior… house… night.” (See Fig.1)
cont.
Okay… fine… but thinking back to the previous chapters, this is your opportunity to lay the groundwork for the rest of the episode and play with your audience’s emotions.
cont.
cont.
Should we make it a peaceful, serene looking exterior of the house to give a false sense of security before all hell breaks loose inside? Or do we WANT the viewer to feel tense and uneasy by creating an establishing shot at an uncomfortable angle?
cont.
cont.
Also - it’s nighttime - but what does that mean? Is it right around bedtime? Do we see the last light in the house click off as someone goes to sleep? Or is it closer to midnight when everyone inside is fast asleep?
In our establishing shot...
cont.
In our establishing shot...
cont.
... - do we see a bird’s nest in a foreground element with a family of robins cuddled and safe? Or do we push in through a low angle among thorny bushes with shadowy figures in the background? Is the sidewalk cracked? Are there stars or is it cloudy? Windy or calm?
cont.
cont.
That very first image you put in front of the audience is going to set their expectations for the rest of the show.
As a storyboard artist, you have the power to introduce elements the script never would have.
As a storyboard artist, it is important to remember:
cont.
As a storyboard artist, you have the power to introduce elements the script never would have.
As a storyboard artist, it is important to remember:
cont.
EVERY DETAIL IS AN ACT OF WILL ON YOUR PART!
The human brain detects and interprets information VERY quickly… even if your details are almost imperceptible, they will register with your viewer, so it is incumbent upon you to take full advantage of this opportunity.
cont.
The human brain detects and interprets information VERY quickly… even if your details are almost imperceptible, they will register with your viewer, so it is incumbent upon you to take full advantage of this opportunity.
cont.
To illustrate my point, refer to Fig.2… observe it and try to discern just how much you can learn just from this image alone.
Before going to the next page, write down as much information as you can about the story taking place and then compare to what I reveal next…
cont.
Before going to the next page, write down as much information as you can about the story taking place and then compare to what I reveal next…
cont.
Here’s what we can see:
- It is either dawn or dusk.
- It is a tropical location with palm trees.
- There is a potentially active volcano in the distance past a set of mountains.
- There’s a shark in the water near the shore.
cont.
- It is either dawn or dusk.
- It is a tropical location with palm trees.
- There is a potentially active volcano in the distance past a set of mountains.
- There’s a shark in the water near the shore.
cont.
- There’s a footprint leading off in the distance.
- The footprint is shoeless.
- The footprint is with one foot.
- There is a line where something was dragged next to the foot.
cont.
- The footprint is shoeless.
- The footprint is with one foot.
- There is a line where something was dragged next to the foot.
cont.
- There are birds in the distance.
- There is a small sea turtle in the sand.
- The turtle is heading towards the water.
- The footprints were created recently because the tide has not reached them.
Did you get all, most or more than these?
cont.
- There is a small sea turtle in the sand.
- The turtle is heading towards the water.
- The footprints were created recently because the tide has not reached them.
Did you get all, most or more than these?
cont.
So much information and intrigue and this is just ONE drawing in the thousands to come.
THAT’S how important composition is.
cont.
THAT’S how important composition is.
cont.
When composing a scene with multiple characters, you shouldn’t just plop them around randomly and begin the scene… think about which characters are most important to the narrative…
cont.
cont.
...what do we need to know about them? What is their purpose? Do we need to see what they’re FEELING or what they’re DOING? All of these factors go into composing a scene.
cont.
cont.
In addition to its dramatic uses, composition is important on a practical level as well.
If you establish an interior where lots of events occur within that interior, you need to establish where everything and everyone is.
Let’s say there’s a party scene (see Fig.3)...
cont.
If you establish an interior where lots of events occur within that interior, you need to establish where everything and everyone is.
Let’s say there’s a party scene (see Fig.3)...
cont.
...and the guests are in the living room, but the script calls for someone to sneak away into the kitchen. You need to place all of your characters into positions that will allow for that action to occur.
cont.
cont.
If everyone is facing the kitchen, it will be hard to your subject to sneak away. Do you place your subject far away from the kitchen, forcing her to weave around the others? Or do you begin with scene with her already near the kitchen at the back of the other partygoers?
cont.
cont.
Knowing that we have a scene with an action and obstacle to portray, our establishing shot will almost certainly need to be wide, open and potentially overhead with both the main subject and the kitchen in plain view.
(continued in replies)
(continued in replies)
Having established this, we can then proceed to our NEXT shot where, perhaps, we want to hint as to WHY the subject sneaks off to the kitchen. Is it because she has a sinister secret? Is it so she can light candles on a birthday cake?
cont.
cont.
This is the time to let our viewer in on the plot a little more by establishing something new: “What’s going on?”
cont.
cont.
If we want her purpose to remain a mystery, we will want to stay wide - but you still need to relay that she is “sneaking” (as the script calls for it) ...
cont.
cont.
- so this will require her body language to be EXTREMELY specific as you’ll be doing it in a wide shot and the distance from the viewer makes it slightly more tricky to relay the subject’s intent.
cont.
cont.
Another route would be to cut in on a NEW kind of establishing shot - but this one doesn’t establish “where”… this composition will establish “Why?”
cont.
cont.
Cutting in to a shot where the subject’s face takes up almost the entirety of the field of vision ensures that her face will denote a hint of what the character is feeling (see Fig.4) …
cont.
cont.
...while other characters mingle in her background, we establish that SHE is the important one we’re following in this sequence.
cont.
cont.
If we cut in close to a giggle, we are led to believe that something lighthearted is afoot. Cutting close in to a face pained with anxiety tells us something else entirely.
By contrast...
cont.
By contrast...
cont.
...if you needed some big, dramatic action to occur, you would want to be in a wider shot that can accommodate the action (see Fig.5).
cont.
cont.
These are the “broad strokes” of your storyboard.
When composing broad strokes, it is important to look at your sequences and determine what are the most important elements we need our viewer to focus on, how we show them, and how those elements contribute to the story.
cont.
When composing broad strokes, it is important to look at your sequences and determine what are the most important elements we need our viewer to focus on, how we show them, and how those elements contribute to the story.
cont.
As you proceed with your shot compositions, you need to take careful consideration where you place the various elements within those shots.
If props or other characters play a role, you want to strive for CLARITY.
cont.
If props or other characters play a role, you want to strive for CLARITY.
cont.
For example, to return to the party setup, for our interior establishing shot, we put the main character or subject of the action near the center of the screen because this is where the eye naturally tends to focus.
cont.
cont.
After the main establishing shot, you will want to determine who (or what) are the most important characters or elements to the sequence of events to follow and place them accordingly (See Fig.6).
cont.
cont.
Sometimes it will be the characters, but other times it may be a prop or a background element - either way, your goal is to send a clear message to your viewer: “PAY ATTENTION TO THIS THING I’M SHOWING YOU!” (See Fig.7).
cont.
cont.
What the audience sees and focuses on is up to you, and it is your responsibility to point them towards important elements.
Have you ever watched a movie or show where something like this happens:
cont.
Have you ever watched a movie or show where something like this happens:
cont.
The camera is situated at a low angle behind an office desk and a pencil holder filled with sharpened pencils is huge in the foreground (See Fig.8). Beyond that, we see two characters arguing.
cont.
cont.
We cut closer to their argument, the tension builds, and suddenly one character grabs a bunch of sharpened pencils and sticks them in the throat of the other!
cont.
cont.
The previous establishing composition was there to let the viewer know “Hey… there’s some sharpened pencils here! Be aware of that!”
cont.
cont.
Otherwise, without that shot, the action would happen so fast that we don’t even perceive the pencils in the blur of action and for a fraction of a second, our brains slam on the breaks and ask, “Wait… what did he stab him with?”
cont.
cont.
EVERY time you ask your viewer to fill in the blanks like that, you run the risk of losing them entirely or at the very least impeding on their potential enjoyment.
You want them focused on the STORY… nothing else.
cont.
You want them focused on the STORY… nothing else.
cont.
CLARITY is paramount in storyboarding, and one of the elements you will want to be perpetually mindful of when composing your shots are the SILHOUETTES within those shots.
“Huh?” You’d be saying if you were me the first time I was told about this…
cont.
“Huh?” You’d be saying if you were me the first time I was told about this…
cont.
All of the elements you place in your scene occupy space… it is the storyboard artist’s job to arrange and compose those elements in such a way that they not only look and feel natural where they’re placed, but that they are not overcrowded or muddled. (See Fig.9)
cont.
cont.
Obviously, if the narrative CALLS for a crowd scene or some other such situation where you WANT everything to be confusing and muddled, that’s another matter entirely.
cont.
cont.
But for the most part, you will usually be seeking to achieve CLEAR SILHOUETTES with your characters.
“Silhouettes” refer the the outline of your characters if your characters were nothing but an outline. Think of them in “shadow puppet” terms. (See Fig.10)
cont.
“Silhouettes” refer the the outline of your characters if your characters were nothing but an outline. Think of them in “shadow puppet” terms. (See Fig.10)
cont.
When you compose a scene, you want your characters to have a clear silhouette as often as possible...
(continued in replies)
(continued in replies)
...the test for this is, if your scene were to suddenly switch to a black and white shadow puppet presentation, would you still be able to tell who was who in the scene? If not, you should re-think your composition. (See Fig.11)
cont.
cont.
Obviously sometimes this is impossible - for instance, when characters hug or look under a bed or any number of interactions with other characters and props that could complicate the silhouette...
cont.
cont.
...but even then it is incumbent upon the storyboard artist to create a pose with a silhouette that easily conveys what’s happening.
In addition to creating CLEAR silhouettes, you should always aspire to have CLEAN silhouettes.
cont.
In addition to creating CLEAR silhouettes, you should always aspire to have CLEAN silhouettes.
cont.
A clean silhouette refers to a silhouette wherein the characters position don’t interact or go off-screen unless they’re SUPPOSED to…
cont.
cont.
...that is, if the shot needs to crop a character off at some point, create a composition wherein the crop looks INTENTIONAL as opposed to one where it looks like you simply ran out of space.
cont.
cont.
A common occurrence is to have the feet of the character touch the very bottom border of the frame or the head of a character touching the very top. (See Fig.12 - 14)
cont.
cont.
Similarly, if characters or props NEED to be near one another, they should either overlap effectively OR they should be clear of one another, but never, EVER have their outlines “just touching” each other.
cont.
cont.
This creates a “tangent” and just looks really friggin’ weird. It’s one of those things that happens all the time and its negative effects are subtle but entirely unpleasant. (See Fig.15)
cont.
cont.
All of these factors contribute to COMPOSITION. I could do an entire tutorial on composition alone, but for the purposes of moving on, I would encourage anyone interested in storyboarding ...
cont.
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...to study up on photography, graphic design and advertising illustration as these are all art forms in which composition is vital.
cont.
cont.
How you compose a scene can make or break your story. As with so many things in animation, I recommend starting by asking “What is it that this composition MUST do?” before moving on to “What is it this composition CAN do?”
cont.
cont.
So… work out that establishing shot carefully… craft your composition with precision and care.
Now do that about eight thousand more times and you’ll have a storyboard!
Zig-a-Zig AH, Party People!
NEXT WEEK:
CHAPTER FOUR - “CAMERA”
Now do that about eight thousand more times and you’ll have a storyboard!
Zig-a-Zig AH, Party People!
NEXT WEEK:
CHAPTER FOUR - “CAMERA”
#animation #film #storyboard #directing #cartoon #cartoons #CartoonArt #storytelling #tutorial
STORYBOARDING 101
by
John "F" Fountain
CHAPTER FOUR:
CAMERA
By now you're probably starting to understand why it can be so tricky describing what "storyboarding" is...
cont.
STORYBOARDING 101
by
John "F" Fountain
CHAPTER FOUR:
CAMERA
By now you're probably starting to understand why it can be so tricky describing what "storyboarding" is...
cont.
I’ve heard storyboards described as “A comic strip that shows what the cartoon looks like.”
As someone who has been both a comic strip artist AND a storyboard artist, I’m here to say that such a comparison falls utterly short of anything even remotely close to the truth.
cont.
As someone who has been both a comic strip artist AND a storyboard artist, I’m here to say that such a comparison falls utterly short of anything even remotely close to the truth.
cont.
BUT First...
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you'd like to support me - LIKE, SHARE, SPREAD THE WORD & SUBSCRIBE TO MY YOUTUBE CHANNEL!
youtube.com/channel/UCFkuF…
on to the tutorial...
This tutorial is being sponsored by MY PRECIOUS TIME.
I want to keep creating free stuff, so I'm not using paywalls, but if you'd like to support me - LIKE, SHARE, SPREAD THE WORD & SUBSCRIBE TO MY YOUTUBE CHANNEL!
youtube.com/channel/UCFkuF…
on to the tutorial...
It is easy to forget sometimes that the primary goal of storyboarding has very little to do with drawing.
This is evidenced by the fact that the language used to describe what your viewer sees is always told in terms of where the CAMERA is.
cont.
This is evidenced by the fact that the language used to describe what your viewer sees is always told in terms of where the CAMERA is.
cont.
But one of the things that is special about storyboarding is that you are not bound by the realities of a physical camera.
Your BRAIN is the camera and your IMAGINATION is your stage.
cont.
Your BRAIN is the camera and your IMAGINATION is your stage.
cont.
This is why I vehemently discourage storyboard artists from using the “tried and true” template of small panels to begin your drawings.
It is far too easy to be inhibited by those itty bitty little boxes. (See attached video)
cont.
It is far too easy to be inhibited by those itty bitty little boxes. (See attached video)
cont.
The goal should be to create a sequence of events and then let the camera follow along with those actions… the ACTION should dictate the camera movement - NOT THE OTHER WAY AROUND!
cont.
cont.
Your first drawings should be composed on a large, blank surface, and once you’ve figured out what happens in a scene, THEN - and only then - do you determine just how the camera follows along.
cont.
cont.
Additionally, your camera is the eyes of your audience… they only see what you show them.
Where you place the camera and how you move it has a profound effect on their perception of the story you’re trying to tell.
cont.
Where you place the camera and how you move it has a profound effect on their perception of the story you’re trying to tell.
cont.
Frantic, perpetually moving camerawork will - indeed - make your viewer feel frantic…
…slow, deliberate camerawork will make them feel cautious… possibly tense. It all depends how you manipulate their view.
cont.
…slow, deliberate camerawork will make them feel cautious… possibly tense. It all depends how you manipulate their view.
cont.
Putting the camera at a low angle looking up causes the viewer to feel small and possibly vulnerable, whereas giving them a “bird’s eye view” can make them feel aloof and distant from the events below.
cont.
cont.
In tandem with COMPOSITION (see previous chapter), your CAMERA and how you use it are the most effective tools you have in telling your story.
Much like every other facet of the process we’ve learned, everything you do with the camera should have a PURPOSE behind it.
cont.
Much like every other facet of the process we’ve learned, everything you do with the camera should have a PURPOSE behind it.
cont.
Far too often, I see storyboards where it was clear that the storyboard artist chose certain shots merely because they "look cool."
cont.
cont.
Looking cool is great, but you are a conduit for the story - you have a responsibility to relay it with clarity and care… you’re not there to indulge your whims. You’re there to tell a story.
cont.
cont.
I’ve had executives remark to me before that they felt an episode of a show didn’t have “enough” camera movement.
My response, of course, was that there is no “motion quota” a show should fill… knowing when to move the camera is also knowing when to keep it still.
cont.
My response, of course, was that there is no “motion quota” a show should fill… knowing when to move the camera is also knowing when to keep it still.
cont.
This is why you should roughly sketch out the action first, and then open your toolbox of camera options to see what best fits the needs of the story.
Figure 1 is an easy reference sheet of the most basic shots at your disposal...
cont.
Figure 1 is an easy reference sheet of the most basic shots at your disposal...
cont.
Two of the most basic and important camera moves are described as:
PAN - when the camera moves around a scene, north, south, east or west.
TRUCK-IN/TRUCK-OUT - also called “zoom” or “push.” This is when the camera moves closer to or further from its origin point.
cont.
PAN - when the camera moves around a scene, north, south, east or west.
TRUCK-IN/TRUCK-OUT - also called “zoom” or “push.” This is when the camera moves closer to or further from its origin point.
cont.
Every other option is a version of or variation on those basic moves.
These, of course, can be mixed, combined, altered, tailored and expanded upon to suit your purposes.
The next several pages illustrate examples of what I’m talking about.
cont.
These, of course, can be mixed, combined, altered, tailored and expanded upon to suit your purposes.
The next several pages illustrate examples of what I’m talking about.
cont.
These also include your different types of ESTABLISHING SHOTS and ways to TRANSITION from one shot to another...
cont.
cont.
In order to fully appreciate the endless possibilities in front of you, I would encourage you to study live action film and photography… if not academically, at least study it anecdotally.
cont.
cont.
Try watching a movie you’ve never seen before with the volume muted and see if you’re able to follow the story.
Make a point of observing both the obvious and subtle movements of the camera.
How do the choices make you feel as a viewer?
cont.
Make a point of observing both the obvious and subtle movements of the camera.
How do the choices make you feel as a viewer?
cont.
Is the camerawork rigid and systematic or loose and carefree? Does it work in harmony or in contrast with the story?
cont.
cont.
As a storyboard artist, it is your job to hold the viewer’s hand and lead them through the journey… sometimes the path will be smooth and quick, other times it will be slow and laborious.
cont.
cont.
It all depends on you - their tour guide.
Zig-a-Zig AH, Party People!
NEXT WEEK:
CHAPTER FIVE - “WHAT THE HELL DO YOU MEAN ‘THUMBNAIL’?”
Zig-a-Zig AH, Party People!
NEXT WEEK:
CHAPTER FIVE - “WHAT THE HELL DO YOU MEAN ‘THUMBNAIL’?”
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