 Usually found at the top part of storyboards.

 Has blank boxes (frames) for sketch or rough

representations of the main scenes.
How many characters in the story?

How are they moving?

 If you know the location where you will be shooting,
it’s a good idea to sketch a rough plan view showing
the placement of the camera, light source, and any
other important features or props.
 It involves the meaningful arrangement of people
and objects in space, and their movement through
that space.
 Contains description about the shot, especially
anything that is difficult to explain a single sketch.
 Number assigned to each frame/shot.
STORYBOARDING
INTRODUCTION
STORYBOARD

➔ Generally speaking, a storyboard is a

means of describing and planning the
continuity or shot-by-shot flow of a
film using sequential illustrations.
STORYBOARD

➔ it is also a “visual budget” that aids

the whole production team.
Early Storyboards
➔ As directors got to the point where they were more serious about stories and
storytelling, many filmmakers found pre-planning with artists’ sketches to be
useful.

➔ However, these weren't what we would consider storyboards so much as

concept sketches.

➔ Walt Disney came along with one of the first uses of what could accurately be
described as a storyboard. It started with the making of a short animated film
called Plane Crazy, the first of three shorts Disney produced after going
independent (the other two being The Gallopin’ Gaucho and Steamboat Willie)
WHO HIRES STORYBOARD ARTISTS?
➔ Aside from animation and live action film, with the advent of
new media platforms such as video games, web, and mobile
applications, storyboards are more widely used now than ever.

➔ Despite this fact, the number of people who create

storyboards for a living is relatively small. While there are
certain industries that hire staff storyboard artists, most
storyboard artists are freelancers.
TYPES OF STORYBOARD

➔ There are two main types of

storyboard:
➔ a Client Board and a Shooting Board -
the difference between them is very
important.
CLIENT BOARD
➔ The purpose of a Client Board is to try out or sell a
concept or idea. It’s generally used during
development or in early preproduction.

➔ is less concerned with technical details and

continuity than with conveying an overall mood or
style. It is usually rendered in more detail, involves
fewer frames and is often done in color.
CLIENT BOARD
SHOOTING BOARD
➔ The purpose of a Shooting Board on the other hand, is to show
how to execute an idea.

➔ It is used at a later phase of preproduction, during production,

and even in postproduction by the director and team to plan
the scenes and shoot, shot by shot. It contains more technical
information than a client board, and focuses on continuity
issues such as shot sequences, camera angles, and camera
placement- but in graphics terms it is rendered in less detail.
 SHOOTING BOARD
➔ A shooting board is almost always rendered in black and
white, in a style that can easily be photocopied and distributed
to the crew.
STORYBOARDS FOR ADVERTISING
➔ A storyboard for a commercial involves an average of 6 to 30
frames.

➔ You usually have one to two days to complete the job or

sometimes you may just get a few hours.

➔ The pay tends to be higher than in other areas , but there is no

long-term job security and , of the other fields, advertising
tends to be the least gratifying creatively.
STORYBOARDS FOR MOVIES
➔ When producing storyboards for live action film, you will be
working on a project basis. A shooting board for a feature film
generally involves over 1,000 frames, and you’ll have on
average two to three months to complete the job.

➔ On a shooting board, you will be working from your own studio

but in close contact with the director.
STORYBOARDS FOR MOVIES
➔ Movies tend to pay less than advertising but on the other
hand, the projects are longer and often more statistically
satisfying.

➔ Considering that a movie takes a long time to complete, and it’s

not unheard of for a production company to fold during the
process, you should negotiate a 50% kill fee. This is an advance
payment that the storyboard artist keeps even if a project is
abandoned.
STORYBOARDS FOR MUSIC VIDEOS
➔ Budget for music videos have been drastically reduced in the
last few years, and , very often, the storyboard artist is offered
a sum that bears no relation to the amount of work involved.

➔ In fact, if a commercial generally amounts to 20-25 frames, a

music video can reach a total of about 100 frames-- but the job
will almost always be paid for the same rate as if it was a
commercial.
STORYBOARDS FOR MUSIC VIDEOS
➔ The creative process for the music video storyboards differs
from the approach to television commercials or films. You
generally start from a basic idea or concept, which may come
from the artists themselves and which is then discussed by the
production team to estimate costs and duration.
STORYBOARDS FOR ANIMATION
➔ By far the most demanding field for storyboard
artists in terms of detail and quality, animation is a
costly, labor-intensive medium, and the storyboard
will be the main form of communication that is sent
from studio to studio, country to country, in the
production process.
STORYBOARDS FOR ANIMATION
➔ Storyboard artists for animation are hired on a long-
term basis, usually one to two years at a time, and
unlike advertising and live action film, will be
working at the animation studio alongside other
artists.

➔ Storyboards for animation are very detailed. In fact,

the amount of information contained in storyboard
page for a cartoon is extensive.
STORYBOARDS FOR COMPUTER GAMES
AND MULTIMEDIA
➔ Storyboards are also used in the creation of computer games
and multimedia presentations. Video games often have
detailed, animated presentations that mimic short films.

➔ it’s obvious that the storyboard phase is one of the most

important in the production process because the work that
goes into each introductions can last to 10 minutes.
STORYBOARDS FOR COMPUTER GAMES
AND MULTIMEDIA
➔ In fact, these introductions need to be considered as animated
short movies, and so you need to design the characters,
locations, and so on. After this, you need to have a script ready
--- and then you move to the storyboard phase.

➔ There are also computer games that move through various

settings while looking for clues, building up a story. In this case,
the storyboard works as a skeleton for the production.
STORYBOARDS FOR COMPUTER GAMES
AND MULTIMEDIA
➔ In multimedia presentations, the storyboard can be used simply
as a “flow chart” that maps out the project.

➔ Storyboards in this field are usually very detailed. You can find
illustrations and work-in-progress features about various
current productions in specialized computer and video games
magazines.
OTHER TYPES OF STORYBOARD

➔ Occasionally, architectural studios need a storyboard artist to

visualize presentations of their projects.

➔ A similar process is used when designing an Internet web site,

where the storyboard is mainly drawn in the form of a flow
chart, and for training videos and company presentations for
fairs and business events, and so on.
OTHER TYPES OF STORYBOARD

➔ A storyboard is useful in many situations.

Think of it as an instrument that makes the
production process clearer and speeds up
production time, avoiding a waste of energy
and resources.
Questions?
References
Stroyboard Design Course:Principles, Practice and Techniques: The Ultimate Guide for Artists,
Directors, Producers, and Scriptwriters
Giuseppe Cristiano 2007

Professional Storyboarding
Rules of Thumb
Sergio Paez and Anson Jew, 2013