Hopefully you didn't get... WHAT? I got like 2 to 4 hours of intro to Storyboarding in film school covering the basics that you just covered with million times more detail, enthusiasm and great examples within... 8 minutes!?! Please keep up this insanely well done educating content, we love you guys.
I'll remember that as I want to go fully into animation, as a solo artist me and my brother make short animations and I've realized that just sitting down and animating can be a torture some times...
Possibly the absolute BEST explanation of storyboarding I have ever seen. Unbelievably clear, concise and informative. A terrific example of the best of what can be seen on RU-vid. Excellent in so many ways.
As a professional storyboard artist, I can say, awesome work man. You've put a lot of crucials in just 8 minutes. Btw, I saw a comment asking for a software? Well, personaly, I'm using a CSP 5, but the best software is the one that serves a purpose. So, it's quite individual.
So, I'm an artist who working on becoming an animator, and I thought storyboarding would be easy, but...yeah. Anyway, I found this and now I feel a lot more informed on how to actually do it. THANK YOU!
I literally was confused about storyboarding and had been searching for 20 mins💀. And I finally saw this video AND?!?!? ITS JUST THAT EASY THANK YOU SO MUCH
I'm literally just starting in my endeavors to get into film making, and I can't believe how much I already learned in such a short video. Y'all's videos are amazing!!!!
Thanks RocketJump, you've gained a sub. This was a very informative and excellently constructed video. To many videos out there suffer from information overload but the stuff here is easy to implement! Keep up the good work!
PounchPounch yes. I’ve animated a 3 min short, and it saves time in many ways. And when you’re animating/filming, you’ve got plenty of stuff to think about, so a storyboard lessens the load on your brain. Also when you’re deep in animating/filming/editing, you can sometimes miss something important about continuity in the story if you haven’t got a good storyboard - you can even get ‘lost’. After all you’ve got so much to think about...
thanks for the explanation really help me understand a bit more of storyboarding i'm actually studying in Computer Science and one of our multimedia program required storyboarding for video project, which I never done before
Back in the day, I was a marker illustrator and they would come to me with a script for a commercial and ask me to draw it. I would always just draw it the way I saw it in my head. And then I would always be shocked when the commercials would come out exactly the way that I drew them!! At the time, I didn't know that I was storyboarding, until I started getting calls to do it a lot!
+Beyond Poy Can you see it? : no------> don't Storyboard yes----> Storyboard P.D additional instructions Is it important? yes------> Storyboard no------->Why is it in your film? Throw away.
If there's specific kinds of shots you're looking for (and have a sense of editing "narrative") storyboards could certainly still help, especially for brainstorming the kind of shot coverage you might want. It may be easier if you know your location in advance (say, an event space), but if it's a way to help you plan, it could certainly work for a vacation video too, and help you keep track of things you had hoped to shoot.
+nicekid76 Do whatever works the best for you, and efficiency is a part of that. I wouldn't recommend adding an extra step to make it look more like a "normal" storyboard if you already have something that works!
Also what exactly is pre vis... I get that it means pre visualization, but is it basically recording a practice take of your shots without being on set or wearing costume, etc? isn't that just like a film rehearsal?
It's a general term for any method used to conceptualize and plan your shots! In contrast, rehearsal before filming is for actors, choreography and stunts (stuff involving performers).
Would you believe I was actually assigned this video as homework in college? It's great! And I've seen all of those videos, so I get to nerd out about knowing what's actually happening in the scene. This is the best homework assignment ever.
What’s sad is we pay to learn in college and instead they assign us content that was already freely available to us and more accessible. I’d hope our colleges can provide us more than just RU-vid videos if they are going to charge us thousands.
I'm a software developer (not the kind of software used in filmmaking). I don't know how I got to these videos, but now I can't seem to be able to leave-not that I'm complaining.
This is _exactly_ what I've been searching for. I was surprised this channel hadn't done a storyboarding episode yet, and now I see that it was well worth the wait. Thank you very much!
I love all these videos they are helpful and really interesting. I will probably never make a movie/short that needs all this, but for some small shorts I'm planing on making one day it's really helpful and it's really makes you understand what goes on behind the scenes of all the movies we see
I used to draw storyboard when i was a child, i don't know what its called and i think that i was the only one who "Invent it", i just say hey i got an idea for a shot, how i about i draw it so i don't forget, what can i say ? great mind thinks alike.
Howdy! I made a transcript of your video to make it more accessible. If you'd like to add it you can. It's not completely verbatim, but close! Storyboards are illustrations that represent the shots that ultimately make up a movie. They allow you to build the world of your film before you actually build it. There aren't any strict rules on how to do storyboards. Conveying information is what is important. It is a tool, a technical document. So it doesn't matter if you're a skilled animator or not. A simple drawing can work just as well a complex drawing. You can still show basic action. Who storyboards? Typically the Director sits down with a storyboard artist to articulate their vision. However it is not unusual for cinematographers and production designers to join as well. I typically meet with the director and produce rough thumbnail sketches that summarize important information in each panel and then fill in the details later on my own, meeting up with the director later to make sure everything works. We'll then share the completed panels with the rest of the team. So let's break down the parts of a storyboard. The panel, or frame, is a rectangle represents what the camera will see. Panels come in a bunch of shapes. Pick a panel that matches your shooting aspect ratio. Square, widescreen or very widescreen. A person drawn really small in the panel is a wide establishing shot. A head drawn very large in the frame is a closeup. Deciding where you put the person in your frame is the basis for your composition. This may seem simple but it will have a big effect on how you shoot your film. These illustrations give your cinematographer a starting point. Things like camera angles, lighting, depth of field, the whole gamut of decisions can be informed by the storyboards. It it also a great way to decide what you'll need out of your locations. Do you really need a giant bottomless pit? Or can you get away with one visual effects wide shot and cover the rest in tighter shots? Okay so let's talk about arrows. So now that we have a panel with a character in it, let's say the character is moving to the left. By drawing an arrow pointing to the left we show where the character--or door--or dinosaur--is moving. There's no real rule to drawing arrows and everyone has their own personal style. But what is important that it is easy to read and makes sense. Arrows for characters moving toward the camera, away from the camera, sitting down--and this arrow shows the character's head falling off. Arrows within the panel usually mean a subject is moving in the shot. Arrows around the edges usually means the camera is moving. So here the raptor lunges right and the camera pans left. Now let's talk about camera movement. Camera movement arrows also aren't really standardized but let's go over some common ways camera movement is illustrated. Dolly movements are typically done with one arrow often narrowing a bit to suggest movement in or out of 3D space. Both dolly shots and zooms can also be illustrated by placing arrows in all four corners of the panel. This shows a widening--or narrowing--of perspective. You can draw a panel within a panel to show how far your dolly or zoom goes. Clearly conveying information is key. So it is better to overexplain than to confuse people. Pans are often shown with an arrow on the side of the panel either pointing to the left or the right. Tilts up and down are done much the same way except with the arrows at the top or the bottom. You can also elongate the panel to fit the entire shot in a single drawing. Since this can get a little confusing it's okay to make a note to indicate whether or not the shot is tracking versus panning or dollying versus zooming because arrows are often used in the same way in both instances. You can make your notes beside the panel or in the arrow itself. Sometimes you'll need more than one drawing to show what is happening in the shot especially if it's a really complicated action or camera movement. When you take panels with angle, composition, on screen movement and camera movement and then combine these into a sequence--you have the foundation of your movie. Storyboards are particularly useful for preparing scenes that require multiple effects techniques. For this scene from Truck Flipper vs. Bus Puncher we used storyboards to decide what was going to be stunts, what was going to be practical on set effects, what was going to be green screen, and what was going to be CGI based on exactly what kind of action was needed in each specific shot. Without planning ahead a scene like this would have been impossible to shoot in the amount of time we had available. Storyboards are typically created based off a completed script but if you're doing a story that is extremely visual storyboards essentially can be your script like with Mad Max: Fury Road. Since it's such a visual film the beats were more effectively planned out with pictures than with text on a page. While this is an extreme example this holds true for preparing all visually complex scenes. There's also plenty of other alternatives to storyboarding. Stanley Kubrick used actual photos from his location scouts to find his compositions. It's also worth mentioning that filmmakers who adapted comic books or graphic novels often use the artwork essentially as storyboards for the final film. You can make animatics of your sequences on your computer to include motion and timing. You can also videotape your pre-vis which is really useful for complex action. You don't need the actual set, costumes, or magical speeder bikes to test out your ideas. In the original Star Wars George Lucas used real WW2 documentary footage to help previsualize the space battles. Animation has also been used to help capture complex sequences. Jurassic Park used stop motion animation to previsualize the dinosaur scenes. When the decision was made to use CGI in the final film they had already planned ahead in painstaking detail and knew exactly what specific movements the CGI was going to need to be able to do. By the time Peter Jackson did the Lord of the Rings trilogy digital technology had developed to the point where they were able to motion capture the Cave Troll sequence and then move a digital camera around in 3D space to previsualize the entire scene in a virtual setting. There's no hard and fast rules or one way to do it but the ultimate goal is planning and clear communication. So whatever tool is going to help you prepare and share your vision the most, use it. It will pay off when you get to set and help empower you to make the best film possible.
As an up-and-coming film composer this was really helpful. I have had to compose music based on animated storyboards before and its no easy task. The more detailed the storyboard is, the easier my job becomes.
