It is similar in appearance to a comic-strip. The story of the film is visualised by a series of drawings which depict the location, characters, props and setting of each shot. Beneath the images there are captions detailing action, camera directions, lighting directions and sometimes basic dialogue. A storyboard serves the same function in film/ animation making as an outline does in written projects. It enables the director to visualise the flow of camera shots and sets that they want to eventually appear on screen.
Drawing a rough storyboard is the first step a director will take in visualising a script or a screenplay. When the words of the script are broken down into units of action and drawn as a storyboard, it is easier to see whether the directors ideas are going to work on screen The process of storyboarding therefore helps the director to decide the sequence of shots, the movement of charters and directions. Most importantly the storyboard illustrates how the narrative will flow from one shot to the next as the audience watches. What does a storyboard look like?
The storyboard illustrates how individual camera shots can be used to create ‘narrative flow’. Each show is drawn as a ‘frame’ a rectangle that represents a single shot. Each frame is annotated with brief information about settings, actions, camera angles, shot types, camera movements and editing notes.
Frames are usually connected together with words or symbols that help to create the ‘flow’ of the images. Storyboards and Pre-Production At this stage of film making the director and the production designer will discuss how to achieve the right look and feel of the film by planning the sets and costumes.
A storyboard artist will then be brought in to draw up the directors rough storyboards adding any necessary details and creating a detailed version with action, camera and lighting directions.
A director will discuss these detailed storyboards with director of photography (DOP) whose job it is to achieve the ‘look’ of the film on screen. Together they will talk through each specific shot and discuss composition of the scene, camera placements, camera movements, lighting and the equipment needed for each shot. The storyboard is an important piece of communication between the members of the film crew as it provides a common outline which everyone can work from.
For complicated action you may need a couple of frames to show how a shot develops. Sketch in pencil so you can make changes easily. Scribble down short notes about what's happening in shot (e.g.. BOB enters) what characters are saying ("Is this it? Is this how...") or sound effects (e.g Roll of THUNDER). An overhead view of the location of the camera, actors and light can be helpful if you know the location you are going to be working on. Number your shots so that they can be quickly referred to on the shot list and during editing and ainmation.
When animating or filming begins copies of the storyboard are given to the crew so that everyone knows what is required for each shot in the way of placement of lights, camera movements, movements of actors etc. Once on set, a director might decide to change their ideas from those drawn on the storyboard.
That is appropriate if the storyboard is only being used as a guideline for shooting. In special effects sequences, scenic backdrops are added later by computer and matte paintings it is vitally important that actors (or Charters). know exactly where they should be in shot and what they have to react to. By following the storyboard with the director the actors are more likely to give a convincing performance.
Once the production has reached this stage, the storyboards should act as a visual reminder of what has been produced and in what order. Storyboards are used by editors, especially those who are working on special effects films, where each effect has to be perfectly timed to match the action around it. Non-linear, digital film editing means that films can be swiftly edited on a computer desktop.
The storyboard remains a blueprint of the original intentions and provides a framework against which changes can be judged. You do not have to be a brilliant drawer because it is your ideas, your story and the ‘narrative flow’ that are the most important aspects to communicate. Your storyboards should always be designed to communicate the narrative flow of the story as clearly as possible to your production crew.
Drawings should be clean and simple, arrows should be bold and helpful, and annotations should be brief. Rough sketches can be drawn on storyboard ‘sheets, on large pieces of paper or in sketch books.
But I Can’t Draw! You don’t have to be able to draw well to produce a successful storyboard. Even the crudest scribbles can help convey your ideas. Storyboards are a valuable aid whether you are shooting/Animating Continuously from start to finish. In sections or scenes (one complete sequence at a time) Or as a series of separate shots or segments of a scene.
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