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.