Storyboarding

1

Thumbnails and synopsis

Erin Beach
Marie Del RIo
Cathy Lielausis
Sean Madigan

Resources

bbc analysis
30 sec spot with cut length
Sample storyboard templates
from Apple Iworks
Links to SB artists

2

Coloring Exercise

Download the line art.jpg file from the course. Use this file to create a separate color scheme that depicts each of the moods listed below. The line art can be printed and color applied by marker, pencil or any medium preferred, then scanned for submission or painted digitally with software. * Gloomy * Romantic * Cheerful * Mysterious Storyboard Exercise

Finalize the thumbnail boards created by you in assignment 5 of Week 1 by incorporating the comments of the reviewer and work out a set of storyboards in full size, with color applied. Be sure to include camera cues and soundtrack information.

3

Studio Test

Mike Wardell
Jonathan Rivera
written descriptions of final project

4

Student work final thumbs

Erin Beach
Wayne Ott
Marie Del Rio
Cathy Lielausis

Assignment 3

Imagine that you have to create storyboards for a short animated project for the fictitious company in the "Target Market Exercise" of Week 3. Consider the same target audience, and create a proposal for the project. The project could be a trailer, TV spot, video game demo, or any other possibility that comes to mind.

Estimate the time it would take to create the storyboards, and workout a budget based on union scale artist rates of $50 per hour. While calculating the budget include all the expenses that will be involved. Refer to the chapter "Pricing" and "Licencing" from the text Storyboards, Motion in Art to workout the expenses. Identify ownership, usage rights, residuals, and any other obligations on behalf of either party. By Day 4, submit the project specifications and budget to the appropriate Discussion Thread.

Student Responses

Cathy L. Lielausis
Marie Del Rio

 

game SB link

5

Pre-final boards

Marie Del Rio
Cathy Lielausis
Mike Wardell
James Bishop
Sean Madigan
Erin Beach

6

Final

Mike
Jonathan Rivera
Wayne Ott
Erin Beach
Cathy Lielausis

Resources

Alternate texts

Exploring Storyboarding (Design Exploration Series) (Paperback)
by Wendy Tumminello "We are constantly confronted with visuals in our daily lives, from the most obvious (television, movies, the Internet) to books, magazines, newspapers and comics..." (more)
SIPs: animatic artist, storyboard panels, presentation storyboards, consistent screen direction, overhead diagram (more) CAPs: Courtesy of David Phillips, After Effects, Cos Russo, Courtesy of Universal Studios, Courtesy of Jamie (more) (1 customer review)
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From Word to Image: Storyboarding and the Filmmaking Process (Paperback)

by Marcie Begleiter "This book has been broken down into chapters on production, history of the craft, creating a visual shot list, overhead diagramming, and drawing..." (more)
CAPs: Los Angeles, Harold Michelson, Alfred Hitchcock, John Mann, High Anxiety (more)
(19 customer reviews)

Storyboard Rendering for Animation "The primary objective of this course is to help you become a good storyteller through effective visual imagery, creative writing, and basic acting skills…"

Paul Power storyboard site from the online lecture
http://www.scottmccloud.com
the matrix book of storyboards great!

Q: Student: Maybe I haven't come across it yet in the reading, but what size are the finalized thumbnail boards supposed to be for Friday? JP:good question - now, they aren't thumbnail baords - these are finalized story boards - big difference from what you all posted last week - these should be the next level up from your thumbs -

A: If it were me id have to make a decision - do i want to make my boards so I have them for a print portfolio? if so, then I have to scan and place in the rectangles provided in my template - or one that u have come up with. Whatever method u use to finalize the storyboards - post them to the threads as an attachment - jpg, so we can all view them rapidly. The thumbs were pretty good last week as far as presentation - why not just take them to the next level in terms of drawing, color, adding camera info and dialogue, and then post them the same way?

Q: Student: Do we only choose a couple or three or four to fully color?

A: it depends - if you are building a port to take around in a leather folder - you should focus on the object - if you are just making them for this class - then you can stay "digital" or screen res. As far as how many - again - it depends - some of the work we have seen has few enuff frames to color all of them - others - like yours - maybe you can focus on what we call "keyframes"...color in the main frame for each sequence.

Overview

Use of color, establishing mood, sound, characters, timing, shapes.

Cinematic Techniques. Identifying Appropriate Camera Angles. Extreme close-up (ECU). Medium close-up (MCU) The medium shot (MS) generally will include the head and shoulders in the shot. When more than one person is on camera the shot is referred to as a 2 Shot or 3 Shot. A wide shot (WS) will usually include the entire character from head to toe. The extreme wide shot (EWS) is a panorama that may include mountains, city skylines, and other camera views that cover vast amounts of space

Camera Movements. The PAN is a shot in which the camera, set in a fixed position and mounted on a tripod, rotates to follow the action horizontally. On the other hand, in a DOLLY MOVE, the camera moves on wheels along side the action, or forward and away from the action. The TILT is similar to a PAN; only the camera rotates in a vertical direction. A PED move or crane shot is similar to a DOLLY MOVE, but the camera movement is vertical as well. The ZOOM of course is racking the lens in or out on the subject.

Most establishing shots are done with a fade in (FI), which goes from black to full resolution in a prescribed time frame. The reverse is true in a fade out (FO). The dissolve (DIS), sometimes called a lap dissolve or cross dissolve blends from one scene into another. A cut (CUT) is not the end of the scene but the end of a particular shot, an indication that camera should switch to another angle. Positioning of cameras can also go to extremes, such as a worm's eye view (extremely low angle) or a bird's eye view (extremely high angle). An experienced director learns to think and communicate in these terms. An experienced animator must do the same.