STORYBOARDING
It’s my strong opinion that if you’ve got a great storyboard, you’re going to have a great film. There are many important decisions that are resolved in the storyboard process:
1. Story: All story issues are resolved in the storyboard.
2. Editing: All the cuts and sequences should be decided at the storyboard stage.
3. Pacing: Can be decided at this stage.
4. Composition and design of the frame
5. Action: The movement and flow of action sequences
6. Backgrounds: Rough versions of the backgrounds
7. Layouts: For me, the storyboards are as good as layouts.
8. Character design: Character and prop visuals can be resolved here.
9. Camera angles
10. Camera lens: Wide shots, deep focus, zooms, etc.
11. Fashion: Clothing, costumes, accessories, hair
12. Special effects: Explosions, cross-dissolves, camera tricks, etc.
13. Color design
14. Sound cues
15. Music suggestions
16. Dialogue
17. Shadows
And on top of all that, I use the storyboards to make an animatic (like a storyboard on DVD with music and voices) to help get a good feel for how the film will look when it’s finished. The animatic can also be used for promotion and demonstration purposes and shown to potential buyers, investors, or distributors.
I know some people think that storyboards are a waste of time, but to me, they are indispensable. In fact, when I’m drawing the animation, I like to put the storyboard on top of my desk and, starting on page one, work my way through the whole story using my sketches as the layouts and inspiration. That way, the film is made in sequence.
I usually create an extremely rough storyboard first by drawing thumbnail sketches that are very loose. I then review, edit, and redraw the thumbnails into much larger storyboards, six to an 8½" by 11" page. And I try to put as much information into the drawings as possible. Because I go from the sketches to the animation, it really helps to have as much detail as possible worked out before I animate. I like to include clothing, details, shadows, effects, background characters, backgrounds—anything that helps tell the story. Like I said earlier, the storyboards become my layouts.
Often I’ll include a number of storyboard drawings in one shot, especially if there’s an important development or transformation. Or, a chase or fight sequence may involve a number of different bits of action. So, occasionally one or two pages will encompass one whole film shot. But usually one page (six drawings) covers approximately 15 to 20 seconds of action. That means that each shot of my film usually lasts about 2 to 3 seconds.
It bugs the hell out of me when film executives refuse to look at storyboards and review only scripts. But there are a number of executives who do understand and love storyboards. So often, I’ll use the storyboards—or, better still, the animatie—to sell the film project.
I love animaties! Sometimes called “story reels” or “Leica reels,” they’re basically comic books with sound, and because I’ve done a number of graphic novels, animaties are kind of like the next step. I usually hire a sound person to slot in the dialogue and music, and voilà—the film is there! The film executives can thus get a better idea of what the film will look, sound, and feel like. It’s a much more complete version of the potential finished picture.
Also, if I’m shipping out a number of shots to other animators (which I rarely do) or I want to show the film to voice artists, sound designers, musicians, or any other postproduction people, the animatic is essential.
There are two questions I ask when making the individual shots:
1. Does this shot advance the story?
2. Is this shot entertaining?
In a perfect world, it would be great to have the same shot both advance the story and be entertaining. In other words, while someone is talking, I try to give him some business to occupy his hands or body. That helps define his character or bring some humor to the story.
