This is a wide shot showing the layout of the location of the action. Give the viewer a sense of place by using an establishing shot.
Use extreme close-ups to heighten emotion: if a character is crying, bring the camera in to see the tears.Ģ. This is one of the difficulties of storyboarding on the computer – referencing an entire sequence in one glance.ġ. This allows you to make sure your pacing is good, and you don’t reuse too many of the same shots. As you work, lay out your thumbnails and boards so you can see entire sequences at once. Planes against a blue sky look like they are just hanging there, but add clouds and mountains around them, and you can see how fast they are moving.ġ2. Fast moving objects need to pass stationary objects to emphasize speed. Looking straight at a character who is in peril up high does not emphasize why they are in peril.ġ1. The same goes for looking straight down past a character seeing a great drop below them. Looking up sharply at a character on a ledge or hanging somewhere adds peril to the scene. Special camera tricks or angles can help tell the story if properly used, but they can also detract from the story if they are used for no reason.ġ0. Looking up slightly at a character makes them seem more important.ĩ. If you need a character to move a long distance from a house to their car, have them out of frame for a moment, and the audience will allow any amount of time to seem to pass.Ĩ. Allowing characters to completely exit frame at the end of a scene or enter a scene from off screen allows a perception of passing time. A child acting crazy behind a parent who is describing their calm child is humorous.ħ. A character lurking unseen in the shadows is scary. Allowing the viewer to see things the actors don’t see can be scary or humorous. Use of shadows help make scenes mysterious and scary.Ħ. Romantic scenes are best edited with long cuts and dissolves. Quick action cuts build energy in scenes.Ĥ. Emphasize that a character feels lonely, scared or separated from others by showing them alone.ģ. Lonely or scared figures shown from a high angle. A messy or clean home define characters as well as the type of decorations they have.Ģ. Shots of trophies tell the viewer of a character’s success. A storyboard artist will probably not be asked back if he or she doesn’t understand the basics of directing.ġ. It is also important that the storyboard artist understand industry lingo and how shots work when a director is giving instructions to an artist. This knowledge is invaluable in allowing the artist to contribute to the flow of a project. It is crucial that storyboard artists understand the techniques of directing and editing.
Love scenes tend to be paced more slowly, with darker, warmer colors and contrast. Action scenes tend to demand faster edits on key action. Others prefer a more hectic pace to their editing, like John Woo. Some directors like to move the camera and stay mostly with master shots for scenes, like Woody Allen. When you are doing your own breakdowns for a script, you need to keep in mind any nuances that a director likes to use Simon and what type of emotion any one scene is supposed to convey.
The other director, Jesus Trevino, would sketch out thumbnails of some scenes and ask me to redraw them and flesh out the action. This gave me more time to draw conceptual designs for the production designer. One director, Bruce Seth Green, drew out rough boards when he was doing his shot breakdowns and did not need finer boards.
On SeaQuest DSV, two of our directors sketched out boards. Even Alfred Hitchcock also started in the film industry as a storyboard artist. He was also one of the conceptual illustrators on the first Star Wars. The director of Jurassic Park III, Hidalgo, Jumanji and The Rocketeer, Joe Johnston, started as a storyboard artist. Ridley Scott, Martin Scorsese, and Tim Burton also sketch their own boards. Steven Spielberg has been known to supply rough boards to his artists for some scenes. In these cases, either you won’t have a job, or you will be refining their boards. Some directors have training in or have a love for graphic arts and may sketch out their own storyboards. Even when the director is calling the shots when going though a script, you may be expected to offer suggestions and solutions to the action in the script. This is not to say that you will actually direct the crew, but that you will develop shot ideas and arrange the style, look, and staging of the action. Pages 42 – 45.Īs a storyboard artist, you will often be called upon to act as the director when working on a script. Reference: StudentFilmmakers Magazine – Storyboarding: Directing Shots: Telling a Visual Story, Varying Shots, & Introducing Movement by Mark Simonand.
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