Storyboard research
storyboard drawing from Hitchcock's 'The Birds', released 1963
This is a storyboard still from Alfred Hitchcock's 'The Birds'. Most likely done in either charcoal or marker in postcard size, images like this one provide an indispensable 'tool' (quote from Mary Murphy) for the later shoot or in our terms: animation.
As many of them will not make it into the final film, they should be considered a 'work-in-progress' object so the artist can stay objective to them. Though on most productions the story is 'wrapped' in the script, the storyboard still provides grounds for new ideas feeding back to the director and production designer, who develops a thorough and believable look throughout a production.
It is said that for one of the most popular films in movie history, 'Casablanca' was almost 'made on the go', changing scriptlines and shots even sometimes in the morning prior to a shoot.
As many of them will not make it into the final film, they should be considered a 'work-in-progress' object so the artist can stay objective to them. Though on most productions the story is 'wrapped' in the script, the storyboard still provides grounds for new ideas feeding back to the director and production designer, who develops a thorough and believable look throughout a production.
It is said that for one of the most popular films in movie history, 'Casablanca' was almost 'made on the go', changing scriptlines and shots even sometimes in the morning prior to a shoot.
A closer look
As for animation, improvisation 'on set' is an almost impossible
approach. The budget is tight most of the time and with very little
final screen time being done each day by an animator, the purpose and
direction of story have to be crystal clear in the first place. Also, as in the case of speech and lipsynch, an actor might be able to land a
blooper or say something differently, whereas animation rigs and puppets most likely won't (apart
from those in the credit sequence of 'A Bug's Life').
The storyboard images on the right are worked out in strong lines, creating a clear form of what we'll see later in the film. The play of light and shadow is beautifully balanced. Quickly readable silhouettes make it clear immediately that this film has to do something with birds; anybody who knows that film scene or at least about the film's concept might be able to guess it straight away.
Such powerful, simple but strong storyboards form a direct translation to the moving image developed from it and vice versa.
So for this exercise, I focussed on clear storytelling first before moving into any detail about look, backgrounds, style or anything else. I also feel inspired by the 16:9 aspect ratio and the layout possibilities that develop from that.
What I kept in mind were strong shadows as it is a sunny summer's day as well as placing the character on the screen in a way it is most naturally readable for the audience.
The storyboard images on the right are worked out in strong lines, creating a clear form of what we'll see later in the film. The play of light and shadow is beautifully balanced. Quickly readable silhouettes make it clear immediately that this film has to do something with birds; anybody who knows that film scene or at least about the film's concept might be able to guess it straight away.
Such powerful, simple but strong storyboards form a direct translation to the moving image developed from it and vice versa.
So for this exercise, I focussed on clear storytelling first before moving into any detail about look, backgrounds, style or anything else. I also feel inspired by the 16:9 aspect ratio and the layout possibilities that develop from that.
What I kept in mind were strong shadows as it is a sunny summer's day as well as placing the character on the screen in a way it is most naturally readable for the audience.
'Seaside Stroll' storyboard
fineliner and pencil on A4 paper
First Animatic
made from scanned storyboard with added sounds.
Second Animatic
Storyboard from Shaun the Sheep - 'The Kite'; pencil
As a few shots and perspectives got revised, so did my approach of scanning a drawn storyboard into the computer.
In the meanwhile, the storyboard artists from 'Shaun the Sheep' are drawing with a tablet just as well and I enjoyed the clear look of it. Also, I find shifting shot possibilities is more intuitive.
I wasn't satisfied of the sudden focus change before the ice-cream hits the girl, as I wasn't with the boys central placement on screen when he is about to eat his ice in the first place. I also limited the number of shots as it is only a 20 second piece and wanted to shed more light on the location rather than the ice-cream being handed over the counter in great detail.
The initial idea of placing it in a seaside town got scrapped too as I found it 'too distracting' as a possible background.
In the meanwhile, the storyboard artists from 'Shaun the Sheep' are drawing with a tablet just as well and I enjoyed the clear look of it. Also, I find shifting shot possibilities is more intuitive.
I wasn't satisfied of the sudden focus change before the ice-cream hits the girl, as I wasn't with the boys central placement on screen when he is about to eat his ice in the first place. I also limited the number of shots as it is only a 20 second piece and wanted to shed more light on the location rather than the ice-cream being handed over the counter in great detail.
The initial idea of placing it in a seaside town got scrapped too as I found it 'too distracting' as a possible background.