Storyboarding_from_ideas_to_pics

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This presentation illustrates the basics of storyboarding

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Storyboarding: from Ideas to Pictures : 

Storyboarding: from Ideas to Pictures

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S. Eisentein, preliminary sketches for The Battleship Potemkin (1925) George Méliès, preliminary sketch for Le Voyage dans la lune (1902)

Storyboard “invented” by W. Disney in the 1930s : 

Storyboard “invented” by W. Disney in the 1930s

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I. What is it? A series of panels representing a shot-by-shot breakdown of a planned film.

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Narrative indications From the storyboard for Terminator 3 (shot 21: arrival scene) Multi-panel description of a long shot

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From the storyboard for Blade Runner Narrative indication Pieces of dialogue

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Make the storyboard as explicit and communicative as possible Clear and simple drawings (Noel Sickle style)

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Sickle’s minimalist style : a model for storyboard artists

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Storyboards are the opposite of comics A means (a visualization tool) An end in itself (a work of art)

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II. What is it for? Storyboarding is an essential part of the creation process: it helps figures out the cinematic language of a shot, a scene, a sequence, or a whole film. It answers the question “What is the most visually effective way of expressing the ideas of the screenplay?”

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A suggested direction + A blueprint for editing A storyboard brings out the visual continuity of a scene

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Looking for the right cut: what’s new? Thornhill runs for his life through a cornfield Cut/New info: T. gets out; he is exposed Cut/New info: T. is panick-stricken Cut/New info: the plane is nosediving on T. From the storyboard for North by Northwest (1959)

Continuity editing: three basic rules to play by : 

Continuity editing: three basic rules to play by Make sure that consecutive shots of the same action are linked by a match on action or a screen-direction match or an eye-line match All the illustrations are from Le Guide pratique du storyboard, Scope éditions, p. 62 (For consecutive shots of the same subject) Note: “the line of vision”: a key element for both the composition of the panel and the dramatic information it conveys.

Continuity editing: three basic rules to play by : 

Continuity editing: three basic rules to play by 2. Respect the 180-degree rule Two characters in the same scene should always have the same left/right relationship to each other Illustrations: ibid.

Continuity editing: three basic rules to play by : 

Continuity editing: three basic rules to play by 3. The 30-degree rule: the camera should move at least 30° between consecutive shots of the same subject. This change of perspective makes the shots different enough to avoid a jump cut.

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Storyboards contain more technical information than screenplays Camera distance Medium close-up Long shot Extreme long shot

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Storyboards contain more technical information than screenplays Camera angles Low-angle shot High-angle shot

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Storyboards contain more technical information than screenplays Depth of field Short DOF Long DOF (always draw in perspective) From the storyboard for Sodom and Gomorrah (R. Adlrich, 1962)

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Storyboards contain more technical information than screenplays Camera and character movements “We pull back and pan as T. walks to farmer” Camera movements are indicated by arrows drawn in perspective on the lower edge, or on the side of the frame, and by verbal indications. Character movements are indicated by arrows drawn inside the frame From the storyboard for The Pianist (R. Polanski, 2001)

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Storyboards contain more technical information than screenplays Lighting (when it plays an important dramatic role) From the storyboard for Man Hunt Fritz Lang (1941)

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Storyboards contain more technical information than screenplays What kind of setting, what spatial layout does this scene, this action, this idea require?

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III. How to Visualize each scene: capture its continuity, its dramatic information, its rhythm. Capture this on paper as quickly as possible: draw a very sketchy first-draft storyboard. From Le Guide pratique du storyboard, op.cit., p.86.

Slide 23: 

For a complex shot (i.e. a shot with a movement inside the frame and/or a camera movement and/or a change of the focal length), draw at least 3 panels: one for the beginning of the shot (a), one for the middle (b), and one for the end of the shot (c). a b c Illustrations from Le Guide pratique du Storyboard, op. cit., p. 88.

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Final draft Each panel must contain 3 elements: Perspective Live action (movement) Story concept (dramatic information of the shot) Use 13×7cm panels. 2 panels per page.

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IV. It’s alive! Turn your storyboard into an animatic a series of still images from the storyboard, edited together, and displayed in sequence to suggest the rhythm of the whole scene/sequence

A Simple Animatic : 

A Simple Animatic Adapted from a storyboard by Maxime Rebière (for Chanel n°5)

Slide 49: 

For more information on storyboarding visit the French Cinémathèque website at http://www.cinematheque.fr/expositions-virtuelles/storyboard/index.htm

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