Who does your storyboards?
- Thread starter Madwld19
- Start date
. Obviously I'd want more than that if I was using a storyboard to sell the movie to potential financiers, but if it's just for my own use that's all I need.
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gwyddion
Guest
The last time I put a storyboard together, I used digital photos. I thought it worked out pretty well
D
DerekEastham
Guest
I've actually been drawing my own boards... I'm not a great storyboard artist... but when I take my time (which is normally too long), they look pretty good. My latest film... "The Duel"... the storyboards and the actual film look a lot alike... not identical, but really close.
In the future, when I have boards done, I'm probably going to hire a friend of mine who is an amazing artist... she draws everything anime-esque... but that works great for me... otherwise I'll find another person who's great at that.
Just to note...
I've also shot without storyboards... and I've finally decided how I want to shoot in the future.
Instead of shooting from boards, like I did for "The Duel"... I'm going to shoot from a shot-list, like I did for "Themes of Life, Lesson 1 - Death." I like the organization I got out of the shot-list a lot better... because it allowed for faster set-ups and an easy check-list of what was and wasn't done... it also allowed for very quick on-the-fly changes, additions, and deletions to & from the list. The artistic freedom there was better for me.
However, I will still employ storyboards... but more as key-frames for the scenes... and only as a guide for pre-production, and a reminder in post-production.
When I one-day do a sci-fi film, my boards will be much more important... it's just natural in that genre...
As far as what to do with boards, shoot with them or not... I'd say try what I did. Shoot one without, shoot one with only boards... that way you can really truely judge what you like better... then create some type of happy-medium set-up for yourself & go with that... or just go with one or the other.
My point of view is that boards are a good tool for pre-visualizing the film... but the cinematographer is the one who's going to truely bring that to-life with the camera... and as a director you've got to be the one directing that process to ensure you get the look & feel you want.
Every thing you use is a tool... it's how you use it that makes the difference.
In the future, when I have boards done, I'm probably going to hire a friend of mine who is an amazing artist... she draws everything anime-esque... but that works great for me... otherwise I'll find another person who's great at that.
Just to note...
I've also shot without storyboards... and I've finally decided how I want to shoot in the future.
Instead of shooting from boards, like I did for "The Duel"... I'm going to shoot from a shot-list, like I did for "Themes of Life, Lesson 1 - Death." I like the organization I got out of the shot-list a lot better... because it allowed for faster set-ups and an easy check-list of what was and wasn't done... it also allowed for very quick on-the-fly changes, additions, and deletions to & from the list. The artistic freedom there was better for me.
However, I will still employ storyboards... but more as key-frames for the scenes... and only as a guide for pre-production, and a reminder in post-production.
When I one-day do a sci-fi film, my boards will be much more important... it's just natural in that genre...
As far as what to do with boards, shoot with them or not... I'd say try what I did. Shoot one without, shoot one with only boards... that way you can really truely judge what you like better... then create some type of happy-medium set-up for yourself & go with that... or just go with one or the other.
My point of view is that boards are a good tool for pre-visualizing the film... but the cinematographer is the one who's going to truely bring that to-life with the camera... and as a director you've got to be the one directing that process to ensure you get the look & feel you want.
Every thing you use is a tool... it's how you use it that makes the difference.
I´d say an artist
I´d say an artist
The visual language can make the difference in a film. A storyboard artist doesn´t only draw the characters, he/she compose visually every scene to manipulate the audience and their emotions through a nice composition that can show many things that can´t be said. I think he/she has to work closely with the director to be able to tell the story without words.
Eric Montero
Animator
http://vfs.com/~2d53eric
I´d say an artist
The visual language can make the difference in a film. A storyboard artist doesn´t only draw the characters, he/she compose visually every scene to manipulate the audience and their emotions through a nice composition that can show many things that can´t be said. I think he/she has to work closely with the director to be able to tell the story without words.
Eric Montero
Animator
http://vfs.com/~2d53eric
M
markcheng
Guest
I've been doing my own storyboards too for my upcoming film. You can see samples on my site here on the bottom of the page:
http://www.markcheng.com/insite.php?thisSection=Story
These were done before I chose a DP to put down on paper how I envisioned the film cutting together in sequence. I find that the larger your crew is, the more important storyboards are so everyone kind of knows what the shot is going to be.
Not that I have a DP, he and I are going to go through all the boards and he'll probably end up revising a lot of it since that's his specialty.
Also, once the boards are done, we plan to reoranize them so that they reflect the number of camera set ups. For example if my storyboards have a simple shot-reverse shot coversation, it may take up 6 or so boards where in reality it's two camera set ups..that will help tons when planning out shoot days!
Depending on complexity of the set, you may also want to do overhead diagrams so you can shoot everything on one side of the room first, then shoot the other side next. That will cut down on moving equipment and stuff!!!
mc
http://www.markcheng.com/insite.php?thisSection=Story
These were done before I chose a DP to put down on paper how I envisioned the film cutting together in sequence. I find that the larger your crew is, the more important storyboards are so everyone kind of knows what the shot is going to be.
Not that I have a DP, he and I are going to go through all the boards and he'll probably end up revising a lot of it since that's his specialty.
Also, once the boards are done, we plan to reoranize them so that they reflect the number of camera set ups. For example if my storyboards have a simple shot-reverse shot coversation, it may take up 6 or so boards where in reality it's two camera set ups..that will help tons when planning out shoot days!
Depending on complexity of the set, you may also want to do overhead diagrams so you can shoot everything on one side of the room first, then shoot the other side next. That will cut down on moving equipment and stuff!!!
mc
M
markcheng
Guest
hey eric,
i just visited your site. I love your work!!! your pencil animations were awesome!! so was your reel and student film...keep up the awesome work..forget storyboarding, your stuff needs to be the animated production itself!
mc
i just visited your site. I love your work!!! your pencil animations were awesome!! so was your reel and student film...keep up the awesome work..forget storyboarding, your stuff needs to be the animated production itself!
mc
bigdaddyross
New member
Mike Bruinsma
www.mikebruinsma.com
and his boards for my movie are at:
http://www.horrorsofwarmovie.com/storyboards/storyboards.php
www.mikebruinsma.com
and his boards for my movie are at:
http://www.horrorsofwarmovie.com/storyboards/storyboards.php
For my films, I use a combination of many sources:
-Stick figures inside rectangles on lined binder paper
-Photography (Usually just me pointing the camera at myself)
-Screenshots from previous films I've done.
Sometimes I composite multiple sources together to get the desired frame, i.e: Photoshopping a stick figure into a photograph.
Yeah, laugh if you want, but as long as you get your point across to the cinematographer, it doesn't really matter how you do preproduction right?
-Stick figures inside rectangles on lined binder paper
-Photography (Usually just me pointing the camera at myself)
-Screenshots from previous films I've done.
Sometimes I composite multiple sources together to get the desired frame, i.e: Photoshopping a stick figure into a photograph.
Yeah, laugh if you want, but as long as you get your point across to the cinematographer, it doesn't really matter how you do preproduction right?
El Gato Negro Films
New member
I actually hired a professional illustrator to do my storyboards. here is a few samples of his work for my feature film " The Myth of Man "
T
TKRoman
Guest
I design them myself with StoryBoard Quick storyboarding software.
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