Storyboards

A Basic Guide for Aspiring Artists

What is a storyboard artist?
• Storyboard artists are individuals who take a script/concept and turn
it into a visual story.
• Contrary to what many might think, you don't need to be a great
artist to illustrate a storyboard, although of course it's an added
bonus. Generally, all that is really required is an understanding of the
basic techniques and principles of storyboard art.
• Your role is to be able to communicate the vision and concept as
accurately as possible.
Introduction to Storyboarding
• Storyboarding is the practice of producing sketches for a
script/concept. It is an essential part of the preproduction process of
any animation, film, TV show - any creative project.

• A storyboard is a sequence of hand-drawn sketches or visual images

that are supported by script notes or dialogue and placed in a
sequence, for the viewer to visualise before production takes place.

• Each individual shot in a storyboard represents a type of camera shot,

angle, action, or special effect, to effectively tell a story.
The Basics
You are breaking down a scene and showing the director or crew:

• The motion
• The camera movements
• The lighting
• SFX
• Music

• In relation to the script.

What Is the Purpose of a Storyboard?
Storyboarding helps the production team envision and develop an idea,
visualise and test out concepts, and highlight any potential obstacles with
the structure or layout of a story before it heads into production.

Why the need for a storyboard?

• It is a step-by-step guide to the production process, so it helps manage
timing in production, and it saves money.
• Builds a connection with the viewer and between the production teams on
a project, so all can communicate from one source of reference.
• Helps communicate a vision and understanding of the story.
• Helps in production direction.
• Most importantly, it's used to sell/pitch the idea to clients to get funding
in!
Who Directs & Lays Out the Storyboard?
Depending on the type of shoot or budget, the director might sit down
with the storyboard artist to present their vision and place their input
in the storyboard process.
However, in most cases the budget isn't available, and you will need to
break down the scenes and rely on your own experience to direct the
shots as you see fit.
The key to storyboarding is to practice, by understanding how moving
productions work.

• Watch plenty of movies, TV series or commercials, and try to study by

sketching out the scenes as you watch.
• Look for camera angles and how a story is cut up and told visually.
• Keep in mind that storyboards are not a frame-by-frame breakdown,
but more a scene-by-scene development, and each scene must serve
a purpose in the storytelling.
Evaluating each shot
You have several elements to consider when preparing your storyboards. You first need to evaluate
your script and break it down into shots. Then, as you plan each shot panel, ask yourself the
following questions:
• What is the location setting?
• How many actors are needed in the shot?
• Do you need any important props or vehicles in the shot?
• What type of shot (close-up, wide-shot, establishing shot, and so on) do you need?
• What is the shot’s angle (where the camera is shooting from)? Is it a high angle? A low angle?
• Do any actors or vehicles need to move within a frame, and what is the direction of that action?
• Do you need any camera movement to add motion to this shot? In other words, does the camera
follow the actor or vehicles in the shot, and in what direction?
• Do you need any special lighting? The lighting depends on what type of mood you’re trying to
convey (for example, you may need candlelight, moonlight, a dark alley, or a bright sunny day).
• Do you need any special effects? Illustrating special effects is important to deciding whether you
have to hire a special-effects person. Special effects can include gunfire, explosions, and
computer-generated effects.
Task
• Download the storyboard template from the VLE.
• Watch this link: https://www.youtube.com/watch?v=no7XR7s8Z7o
• It’s from the 1968 film: Bullitt. The script called for a car chase.
• Try and breakdown some of the important parts/elements of the
scene and draw how you would describe them – just using images.
• You will be adding some additional details as we go.

The next slide will show you what information is in the shooting script –
The full script can be found here: https://jalopnik.com/bullitt-chase-
scene-the-script-5435663
 Storyboard Lingo &
Techniques
Now, let's learn some essential lingo to get you started on the right foot
and familiarise you with the terms used in the industry.
What Are Film Aspect Ratios?
Storyboards showcase a series of images, of what the audience will see on screen. These are shown
in formats called a Storyboard Panel or Storyboard Frame, which is basically a rectangular shaped
box presented digitally or on paper.

The size and shape of the panels are different, depending on what is called the Aspect Ratio (the
relationship between the width & height of your video). The most common aspect ratios are 4:3 and
16:9.

• TV aspect ratio is known as 4:3.

• HDTV is 16:9.
• Standard Widescreen is 1.85:1.
• Anamorphic is 2.39:1, also known today as "two-four-o".

Note that the dimensions of your panels should be the same as the aspect ratio the animation will
be at the end.
What Are Different Types of Camera Shots?
There are some different types of camera shots that you
should know before starting. Note that most shots are
named in connection with the subject framed in the
panel.

Establishing Shot (ES) is usually shown at the beginning of

a scene to present where the action is taking place—for
example, an island, a school, a basement, etc.
Close Up (CU) shots, are obviously close range views.
They're often used in emotional scenes to show reactions
or create intimacy. They can also increase tension, allow
close views of characters or products, or accentuate an
action.
Extreme Close Up (ECU or XCU) shots are sparingly used,
usually when you need to add drama or focus to an event
or scene, or represent some aggression or discomfort.
Mid Shot (MS) or Medium Shot is a frame from the
character's waist and up. Typically used to show emotions
and reactions, or during dialogue sequences.
Medium Close Up (MCU) is what is sometimes
called a Head & Shoulders. It's basically a head
shot from shoulder up, used to focus on a
character's expressions or during dialogue
scenes between two or three people.
Long Shot (LS), also known as Full Shot, is a
shot taken from a distance. It's typically used
to show the entire character or subject, and
when you want to point something out
between the subject and its surroundings or
release tension in a scene. It's like giving
breathing space to an event/action.
Medium Long Shot (MLS) frames the subject
from the knees and up. It's a mix between a
long shot and a medium shot and is usually
used when there are a group of people in a
frame or you wish to show the subject's hands
and expressions.
Extreme Long Shot (ELS or XLS) is more long
range and is used to establish the surrounding
setting.
What Are the Basic Camera Angles?
A Camera Angle refers to the where the camera is shooting
from. When storyboarding, always imagine yourself holding
the camera, and ask yourself what's the best way to portray
the action or subject in a scene. Do that by establishing the
most effective way to place the camera angle:

• Point of View (POV) camera angles are used when you

want the viewer to understand what the character is
seeing. The view can be close, mid, or long.
• Over the Shoulder Shot (OSS or OTS or also known as
‘Third-Person) is a view from behind an individual and
towards a subject. It's typically used between people in
conversation, and the frame has one person/thing on the
side of the frame.
• Two-Shot is an angle where two subjects are both in a
single frame together, and usually speaking. When drawing
dialogue frames, alternate between two-shots and OTS
shots.
• Up Shot / Worm's Eye View are angles that look up at a
subject/object.
• Down Shots / Bird's Eye View are angles that look down at
a subject/object.
What Are the Standard Camera Movements?
Next, let's familiarise ourselves with
the following list of camera motions:

• Pan/Tilt. Pan is short for Panorama

Shot. The camera is on a tripod, and
moves right or left. A Tilt is when you
move up or down.
• Zoom In or Out is when you adjust
the lens to view in or out, and is used
to increase the significance of
something. Draw arrows from the
edge of the panel inwards/outwards.
• Dolly is similar to a Zoom, but the
entire camera moves towards a
subject or away from it. Use thick
arrows to show this motion.
• Truck In & Truck Out is
similar to dolly, but the
whole camera moves
left to right or vice
versa.
• Pan or Panning are
when the camera
rotates sideways in one
direction, often used in
dialogue scenes or
when following a
subject or revealing
something near. When
storyboarding, draw an
arrow in the camera's
direction.
• Track or Tracking is another way of
following subjects. It's when the
camera moves and follows the
subject/action without cutting. It's
typically used in walk cycles and is
symbolised by using an arrow in the
motion of direction. It can also be
Hand-held or on a Dolly.
• Hand-held is carrying a camera by
hand, to give to give a more natural
documentary feel to a scene,
typically used in police or war
scenes.
• Rack Focus is when the camera
focuses on a subject in the
foreground and the background is
blurry, and then it reverses so that
the focus shifts to a clear
background and blurred foreground.
In a storyboard, just draw where the
focus starts and an arrow and
rectangle where it moves to.
Task
• Now that you know some of the camera terminology, try
adding those descriptions to your storyboard from earlier.
• This should add more detail so that any person tasked with
filming or animating this scene, they can instantly
understand what you are trying to portray.
The Art of Storyboarding
Before Starting to Storyboard
Before you get started, gather your notes, read over your script, and research whatever source
materials you need. Clients might give you some reference material, but in most cases you need to
gather your own.

Consider asking the client a few questions before storyboarding:

• Do you have a script or breakdown of the script?

• Who is the storyboard for?
• Colour or black and white?
• Budget?
• Format to be used?
• Reference material?
• Delivery date?
What Are Thumbnails?
Before you start illustrating the storyboard, you need to break down the script, in
order to examine the scenes and translate them into individual storyboard panels.

The easiest way is to Thumbnail the scenes.

• Thumbnails are a rough sketches of the storyboard panels, mainly quick

illustrations of stick figure forms, notes, and laid-out sequences of events on a
page.
• This is done to quickly determine how each shot/camera angle/movement will be
used.
• It also helps to evaluate which images need to be storyboarded and which not.
With thumbnails, you can swiftly step back and analyse your entire animation in
individual panels, before even starting with the actual storyboard work.
How to Break Down the Script
Once you have thumb nailed your script and gathered all your material,
it's time to start drawing out your frames.

Figure out what aspect ratio will be used, lay out what each panel
needs to show, and then transform those ideas into a series of
storyboard panels.

Decide what elements (characters, objects, background) are in each

frame, and the best shot type to communicate the event.
From thumbnail to detailed storyboard
How to Label the Storyboard Panels
Learn to label your shots correctly, so that they are in order and you and the team
can stay organised.

There’s more than one way to effectively number storyboards.

In short, the process is like having an ID for each panel. If you’re using storyboard
software, it will automatically assign panel numbers. However, if you're not on any
software, and a client/director wants to move, add, or delete a panel, you can't
name a panel, for example, Panel_6_New_New_New. You will end up needing to
find old/new files, and it becomes a messy, time-consuming burden.

The proper way would be to follow this order: Project

Name_Script#_Scene_Frame_01.jpg
Numbering Presentation vs. Production Boards
It's important to know which style of boards your client wants: Presentation or Production boards.
Presentation boards Production boards
Presentation boards are typically short and are presented Production boards are numbered the same, but the
internally or used in pitches. They represent only the key shots difference is that they are a breakdown of every scene's
needed, and not every shot of the director's vision. Only the "action", so each action is broken into camera angles. This
key elements are illustrated in individual frames. means that whenever the camera cuts, you must change
the scene number to represent a new shot. So, for
So, in numbering presentations, it’s easy to add a letter, example:
number, or decimal at the end of each panel number.
Scene# 2: Shot 1A
For example, if you want to add an additional shot between Scene# 2: Shot 1B
23 and 24, then you would call it 23-1. If you want to convey a Scene# 2: Shot 2
single shot, in several panels, it could be 23i, 23ii, 23iii, etc. Scene# 2: Shot 3
Scene# 3: Shot 1...
If you make an alteration to your panel then the correction Once you have submitted the board, your job is done. The
will be labelled 23-a. That way they’re clearly connected, but client might transform it into an animatic.
still have their own unique ID numbers.
 How to Storyboard Effectively
The whole concept of storyboarding is to represent the
concept, as closely as possible to what the film/animation
will look like in the end. So your audience should be able
to follow and understand the story through the sequence
of frames you illustrate. Your job is to make the script
come to life.

Elements that might help communicate a story more

accurately include:

• Use of Arrows or Symbols to show camera movements.

Arrows help show movement, direction, and transitions.
• Colour an object/subject to differentiate it from the
surroundings.
• Add Captions under or in the images
How to Enhance the Look & Feel of the
Storyboard Frames
Creating a comprehensive storyboard that looks and feels professional is not
just an art but a skill.

If the audience doesn't understand a part of the storyboard then usually it

will need to be enhanced or altered. They should be able to understand the
visuals without the dialog. Your best "test" audience would be your parents,
siblings, or cat/dog. Try it out.

There are different approaches to illustrating a storyboard. Some artists like

to use splashes of ink and colour, others draw rough doodles and scribbles,
some may only draw outlines, or in greyscale, or you may be the type that
adds lots of details.
There are no rules to storyboarding, but there are some guidelines and tips to enhance
your images and help stretch out your skills:

• Add details to a scene or character—this helps the viewer's imagination. For example,
add utensils in a kitchen scene, or a zebra crossing on a street scene. The more you
communicate through a board, the more accurate the production will be.
• Experiment with different camera angles, especially within dramatic scenes. Try over the
shoulder shots, worm's eye views, or extreme close-ups.
• Avoid positioning the subject in the centre of a panel, and make use of most of your
negative space.
• Avoid tilted frames, complicated angles, or splitting screens in half with horizontal lines.
• When drawing people or a setting, where a crowd is needed, add a number of people,
instead of just two people in the background.
• Be sure your subject/character is facing the correct camera direction.
• Ask yourself what type of camera shot/angle you will use. Do you need a close-up? Will
the camera move?
• Make every frame count.
• It pays to practice! Practice at home while watching your favourite movies.
Storyboard Shot footage
Final Task
• Produce a storyboard (no more than 12 panels) to illustrate a short
fictional scene (a foot chase down an alleyway and ending as the
main character goes into a church).
• Add notes to include additional details and draw camera movements.

• After 30 minutes – we will go around the group and compare your

scenes.
• Art skills are not necessary – as long the images are recognisable and
the information is clear.