Hat Lieberman: Stuff I've Learned About Storyboarding Part 3

These next few tip sheets examine the elements of design; line, shape, space and value, and how to incorporate them into your storyboards to help direct the eye and clarify information. The focus here is not the cinematics of stroyboarding but the execution of idea to paper and ultimately how to utilize design principles to achieve desired results in an efficient way within a given panel or shot. Storyboarding is not necessarily about drawing 'good' but drawing effective.

NOTE: There are two other elements of design, texture and color. However they would only be used in rare cases with storyboards and when employed probably wouldn't be for design purposes but most likely for clarification (I.e. using colors to keep track of specific objects of similar size and shape in a given sequence, such as stones or gems, that each have varying story-specific trajectories).

Below are a few examples of how incorporating varying line thickness into a panel can help clarify not only the information presented, but the depth of the shot. There are many things you can do within a given panel to help focus or direct the eye to the important information. A simple way to achieve this is through contrast. Contrast can exist in many forms, and below we look at how contrast within a specific design element (shape, space, value) can create a focal point.

Now we can take these principles and incorporate them into storyboard panels.

I got a bit 'wordy' on the tip sheet above. I think the most important thing to take away from the sewer-rat example above is realizing that even though panel 1 and 3 are the exact same compositions, the shading can either greatly enhance (1) or greatly distract (3) from the important information. This holds true of the other design principles as well. Thinking about these principles while you are boarding can help in creating clear and easy to read compositions.

Storyboards, by nature, are disposable. They are not finished pieces of artwork. The main goal is to present ideas on paper quickly and clearly. Design principles can help sell ideas very effectively in storyboards. Below are a few more examples;

There is no single 'right' way to present an idea visually. The 'blimp' idea, for instance, could easily be boarded successfully in a variety of different ways. Ways that would vary in stylistic choices based on the artist, but that could all achieve the same goal of focusing the attention on the blimp. In fact there are probably compositions that could be more successful than the one presented.

So start experimenting with design principles and find ways to incorporate them into your boards that work for you.

As per my previous posts, I reserve the right to be wrong. These are simply tricks and tips I've picked up along the way that I've found to be successful in my own work.

-Hat

Hat Lieberman: Stuff I've Learned About Storyboarding Part 2.5

Here is a quick draw-over I did recently of some student storyboard work. The particular sequence at hand was a first attempt at storyboarding, which I was quite impressed with. I had a few notes and ideas for her, things I felt she could look to incorporate into her storyboards as she moves forward, that I believe will help take her work to the next level.

I focused on a single panel to clearly illustrate the principles. Below is a step-by-step progression of my draw-over.

1. Original Panel From Student Sequence:

Conceptually it is good.
-She has clearly established a screen relationship between the two characters (left and right).
-Indicated an environment (the mountain range in the background).
My main note is to push it! Take the concept of this shot and push it to find a more interesting and compelling composition.

2. Draw Your Grids:

I started my redraw with a horizon line and laying down a grid.
Laying down your grids (on the ground, walls and sky) will help clarify the depth of your shot, and can also be used as a guide for incorporating mid/foreground elements (illustrated in step 5).

3. Push The Depth:

In the original panel there is a lot of empty space around the characters, not particularly interesting or dynamic visually. I drew over the characters, using my grid as a guide, and tried to push the depth.

By pushing the depth, bringing one character closer and pushing one further away, you can create a much more engaging composition as well as utilizing the real estate of the panel more effectively.

4. Use The Background To Enhance The Composition:

You can use background elements to enhance a composition and help direct the eye.

The important information in the panel is the characters, so everything else in the composition should support that. Keeping that in mind, we can use mountain ranges in the distance to help lead the eye to our character.

5. Populate The Mid-Ground

Put some junk in the mid-ground.

Populating the mid-ground can help in a few ways:
-Further help define the environment.
-Help push the depth by incorporating visual depth cues such as over-lapping objects and size relativity (objects get smaller as they recede).

6. A Little Shading Goes A Long Way

In the original panel the shading wasn't particularly adding anything to the composition. A simple way to approach shading is by thinking about it in terms of foreground, mid-ground and background.

I did a quick shade pass over the panel using each object's relative position in the composition (how closer/far away it is from us) and shaded accordingly. We can also use shadows to help direct the eye, much like background elements, by having them point towards important information.

Below is an animated gif of the progression so you can see how being conscious of these principles while you are boarding can really help enhance your work. You may need to click on it to see it animate.
With storyboarding it is just a matter of getting sequences under your belt. The more you board, the better you get, plain and simple. It takes time for these principles to become second nature, don't get discouraged if you don't see them immediately taking effect. The important thing with these concepts is to be aware of them, how they work, and how they can affect your boards. Over time everything will fall into place.

-Hat

Hat Lieberman: Stuff I've Learned About Storyboarding Part 2

Motivating the camera is a simple technique of using visual cues to set up a cut or camera-move and in doing so, ease the audience into a new shot or new information.

Below is a simple example of how utilizing the above theory can have a huge influence on the overall feel/continuity of a sequence.

I think I may have made it a bit over-complicated. Essentially you should be able to look through each of the examples and feel the difference.

Basically: Use a character's eye line to motivate a cut. It helps ease the audience through the cut and into new information. (While also putting us directly in the character's shoes)

There are many other ways to motivate the camera. Below is a short sequence I've boarded out with various examples all strung together. The idea is to create as much continuity within the sequence as possible, making everything clear and easy to follow.

Below I have pointed out the specific methods used to motivate the camera.

So as per the above sequence, ways to motivate the camera;
- Using a Character's eyeline/P.O.V.
- Having a character move on screen and adjusting the camera accordingly.
- Having a character exit frame.

There are other ways not represented in the above example, for instance;
- Having a character enter frame. (illustrated in a tip sheet below.)

I think ultimately what it comes down to, specifically for 'cutting', is the fact that a 'cut' is not natural, it doesn't happen in real life (unless you take really long blinks). Obviously we have all seen enough film/television to accept a 'cut', nevertheless, anything you can do to smooth out the transition will only help create and maintain the continuity of your sequence.

These next examples revolve too around motivating the camera, however explores more "what they are saying visually".

The next three examples are all slight variations of the same scene, each exploring a different approach in regards to the progression of information that is revealed to the audience, and consequently the effect it has on them. Please note that none of these examples are any more "right" than any other. They are merely different takes on the same scene. Their purpose is to show how slight variations in storyboards (and ultimately film) can produce vastly differing ideas/moods/responses. Ultimately, it would all depend on what the script calls for or what is necessary of the scene to determine which of the following (if any) would be suitable.


I think the most important thing to take away from this concept of 'motivating the camera', is just to try and be conscious of the decisions you are making in your storyboards. Try to understand what you are actually saying visually, what information you are revealing to the audience (and when) and what effect it will have on them. Thinking about these things as you board can significantly enhance a sequence and really help 'sell' an idea in the storyboard stage.

On a side note: None of these tips/theories/methods I've discussed (in this post or the previous) are "rules". They are by no means absolute. There are no 'right' or 'wrongs' with storyboarding, as I've stated before, simply ways that work better than others at achieving desired responses. As much as I use these principles and incorporate them into my own sequences, I find myself quite frequently deviating, or cheating, or bending these ideas. I rely much more on the 'feeling' of a sequence as I board. Boarding panels and flipping through them to see how I 'feel' watching it, to see if the cuts are smooth, or if something doesn't 'feel' right. So take these tips for what they are, simply tips, tricks and principles I have found to be successful.

Hope it helps.

-Hat

Hat Lieberman: Stuff I've Learned About Storyboarding

Here are a few quick little tip sheets I put together for some of my friends who are currently doing storyboard tests and looking to get into boarding.

1. Be Careful of Theater Staging




There are no "right" or "wrongs" with storyboarding, only ways that work better than others. Figure out what you want to convey in a scene, and find the best way to present those ideas to your audience.

2. Maintaining Screen Side
Note: there would obviously be more panels if this was flushed out, to play up the acting and also hook up the action. And on the last panel, I would probably frame it more centered while the female is farther away and then adjust right as she walks towards camera.

This is a simple theory of cutting that can easily help create a sense of continuity within a sequence and or exchange. The idea is not exclusive to 1 character interacting with another. The same principle can be used between 2 different groups of characters, or even a character and an object (Ie. A telephone. A man waits anxiously for a very important phone call).

The example above is a bit rudimentary for the sake of demonstrating the concept. More realistically, you will have characters moving around as they interact. In this case what we can do is create multiple patterns to track the exchange. The important thing to focus on when trying to handle multiple staging set ups is making sure the audience clearly sees our new staging occur. The simplest way to achieve that is by having characters physically cross paths on screen;
As long as you continue to establish any new screen spacing, the sequence should maintain a certain level of continuity that will allow the audience to follow along quite easily.

3. Maintaining Screen Direction

This is a similar theory to #2 however involves more characters and objects moving in and out of frame.



I think the most important thing to remember with storyboarding is that; anything and everything we can do visually will invoke a specific response from the audience. The key is to determine what exactly you want the audience to feel and then find the best way visually to achieve that reaction.

I hear a lot of people say "You can't do that cut" or "You are breaking the 180 line, you can't do that".... well obviously you can do it, because if you can board it, you can shoot it. It's not that you "Can't" do something, it's that that "something" is confusing the audience, or isn't visually pleasing, or isn't achieving what is necessary of the scene. All of which are appropriate critiques of a jump-cut or breaking the line, however not so much if that is the desired effect you hope to have on your audience.

Please note, I could be completely wrong. I do not claim to be right, and as I stated above, there are no "right" or "wrongs" in storyboarding (and most art forms for that matter), only ways that work better than others. These are simply tips, tricks and principles I have picked up along the way that I've been able to apply directly to my own work and found to be successful.

Hope it helps.

-Hat

Rad Sechrist: Quick storyboard drawing

Everyone storyboards differently and there is no "correct" way of doing it. This is just my approach so that I can get my work done quickly and not worry about deadlines. This gives me the freedom to try lots of different things and not feel like I can't try something because it would take too long.

Rad Sechrist: Storyboarding basics

Here are the basics of how I approach storyboards. Story is the key. Everything you do is just to help the audience follow the story.