visual storytelling storyboard.pdf

8/10/2019 Visual Storytelling Storyboard.pdf

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Visual Storytelling:

A Crash-Course in Filmmaking and Storyboarding

ART/CSC/FST 320: Computer Animation E. Patterson


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I think one of the biggest problems

that we have in our business is theinability of people to visualize... The

visual, to me, is a vital element in this

work. I dont think it is studied

enough -- Alfred Hitchcock


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All about directing

attention!Montage

Mise-en-scne

The Cabinet of Dr. Caligari (1920) Wiene

Lev Kuleshovs experiment.


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Mise-en-scneSetting

Decor

Staging/Blocking

(planar, depth, multi)Framing

Composition

Lighting

Focus/Depth-of-fieldCamera Movement


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Montage

Transitions: cut, dissolve, fade

Rhythmic pace of shots

Temporal relationship

Kuleshov effect

Graphic relationship of frames

Parallel action

Continuity

Cut on the action

Establishing shot

Master shot

Reaction shot

Shot/Reverse-Shot/Framing-distancePOVs, Cutaways/Inserts

Match Cuts

Jump Cuts

Bridging sound


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Its also about perception -- using film grammarwith the tools of mise-en-scne and montage to

construct time and space for the audience.

Some spatial tools:

the line -- 180-degree rule

eye-lines and eye-line matches

screen direction30-degree rule/jump cuts


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eye-lines and eye-line matches

Amlie (2001) Jeunet


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screen direction


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the line

180-degree rule


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jump cuts

Breathless (1960) Godard


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Compositionis all about directing the viewerattention to key realizations, decisions, and

storytelling objects.


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composition

staging (planar & depth)

positive/negative space

contrast

value

texture

depth cues: scale, overlap,

form, perspective

focus and depth-of-field

color versus black-and-white

symmetry, asymmetry, balance,

series, random

framing devices: shapes such

as circles, squares, arcs

rule of thirds, rule of fifths

diagonal or other lines in frame

to direct attention

proxemics, distance, height,angle of camera

Visual mediums have a long history: drawing,painting, photography, comics, animation, and

film use similar tools.

Seek inspiration in these.


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composition

Famous Artists Course


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composition


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composition


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basics of camera/lens movement

pan

tilt

(roll)dolly/track/truck

jib/crane

hand-held

swish pan

steadi-cam

motion controlrack focus

zoom

zolly


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basic shot terminology

extreme close-up (ECU)

close-up (CU)medium shot (MS)

American / Hollywood(knees up)

Full

Long Shot (LS)Wide shot (WS)

single

two shot

insert

high-angle

low-angle

aerial/birds-eye

worms eye

high hat

3/4 shot

profile

frontal

over the shoulder (OTS)

canted/dutch


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storyboardingUsing the tools of filmmaking discussed, tell the story in a series of

frames that use primarily composition and sequence to reveal the

narrative elements as mise-en-scne and montage will in the final film.

Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation by Francis Glebas


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Create each board to be visually specific for a shot.

scale (frame to object)

angle (camera and object) camera movement

blocking of character, vehicles, etc.

(possibly contrast/lighting cues) all of the previous filmmaking ideas


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Useful tools for drawing.

1, 2, and 3-pt perspective.

Scale, overlap, foreshortening.

Using basic shapes in perspective.

Human proportions.

Gestures first.

Build volumes using scale, overlap, and lines.before shading for form.


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one-pointperspective

Use for looking straight into rooms or straight at buildings.

Choose the horizon line. Horiz/vert stay; other lines vanish.


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Use for viewing from an angle.

two-point

perspective


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Extension of two-point for more extreme angles.

three-point

perspective


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gestures: pose and action come

first with simple lines


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... then build form over gesture using

scale, overlap, shape, shading


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human proportions

Andrew Loomis


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Resources Begleiter, M., From Word to Image: Storyboarding and the Filmmaking

Process, Michael Wiese, 2001.

Vineyard, J. and Cruz, J., Setting Up Your Shots: Great Moves Every

Filmmaker Should Know, Michael Wiese, 1999.

Directing the Story: Professional Storytelling and Storyboarding Techniques

for Live Action and Animationby Francis Glebas, Focal Press.

Thomas, F. and Johnston, O, The Illusgcc

ion of Life: Disney Animation, Walt Disney Productions, 1981.

Lee, S. and Buschema, J., How to Draw Comics the Marvel Way, Fireside,

1984.

Simblet, S.,Anatomy for the Artist, Doring Kindersley, 2001.

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