14

Patterns in Time: Pacing Action on Rough Boards

Time seems to slow to a crawl and stop when you are listening to a dull speaker.

A short lecture given in a monotone can appear to last for hours rather than a few minutes.

Conversely, a good speaker who varies his or her inflection and pacing can make a long speech fly by and leave the audience wanting more. I once auditioned an actress for a narrator’s role in a film I was directing. Since I wanted the character to have a sexy voice but didn’t want the actress’ choice of material to influence my decision, I requested that she read distinctly ‘un-sexy’ material for the audition. The actress found an extremely dull exterminator’s treatise on the life cycle of the bedbug and declaimed it in a breathy, Marilyn-Monroe style voice that reduced the crew to hysterics. She got the part.

There is an old saying that it’s not what you do, but how you do it. Good timing and good delivery can make a scientific analysis of insect pests interesting, while monotonous droning speech can make a fascinating subject seem dull to the listener.

[Fig. 14-1] A monotonous voice can make a gripping topic seem dull.

[Fig. 14-2] Varied and well-paced verbal and visual delivery can generate audience interest in a plebian subject.

Film has a language, a vocabulary, and structure. A film’s editing and pacing can correspond to natural pauses and punctuation in human speech. Evenly-paced visual rhythms can be just as monotonous as speech that lacks inflection.

Animation storyboards cannot simply set up the shot the way live-action boards do. Animation boards will block in every aspect of the character’s performance. Consider them rehearsals for the animated action. A new storyboard is added when any of the elements listed in Figures 14-3, 14-4, 14-5, or 14-6 change.

[Fig. 14-3] Change of Scene.

[Fig. 14-4] Change of Emotion.

[Fig. 14-5] Change of Action.

[Fig. 14-6] Moving camera.

Action sequences will use many storyboard drawings to choreograph progressive character and camera moves in minute detail. Spontaneous-looking actions and ‘quick cuts’ must be planned well in advance. A flashback or montage sequence may include scenes set in a variety of locations featuring many different characters. The scenes work in combination to illustrate one theme.

Acting is also blocked in storyboard. Important changes of attitude and expression are storyboarded to help guide the animator in his or her performance. There is no serendipity in animation preproduction. Figure 14-7 shows thumbnail drawings for fast action.

[Fig. 14-7] Thumbnails may be used for staging action before going to full-sized boards. Action sequences will need more storyboards than most other sequences.

While the animated film’s final timing and pacing is created when the boards are up on reels (assembled into story reels with soundtrack), it does not begin there. These pictures not only tell the story, they make the movie. Timing and pacing are created on the storyboards by varying camera angles and cuts. Scenes may ‘play’ short or long depending on the story point that is being made and staging that is used to convey it.

Figure 14-8A shows three boards with identical staging. They give the impression that the pacing of the action is just as dull. Perhaps the characters could have moved around more—but even a simple conversation can convey deeper meaning if a variety of shots are used as shown in the second example. The camera angle and perspective in Figure 14-8B are caricatured along with the characters.

[Fig. 14-8] Unvarying visuals can cause a viewer to lose interest in the story. Different camera angles help the storyboard artist create dramatic tension within a scene. Animated perspective is ‘forced’ and deliberately exaggerated to create an emotional effect.

Vance Gerry, the great story artist, wrote that the storyboard artist was only concerned with telling the story. Gerry was of the opinion that the story artist should only present ideas and not concern himself or herself with a cinematic approach to the story, since cinematography was the provenance of the director. In modern productions this rule no longer applies. The industry has changed greatly since Gerry’s time, and so the modern storyboard artist should be fully conversant with the language of film. The pigs’ acting becomes more compelling when they are given props to work with and staging that helps establish the mood and the setting, as shown in Figure 14-9. A story is being told visually and the dialogue is distinctly secondary to the action!

[Fig. 14-9] Dialogue scenes are more interesting when characters have something to do. Props and camera angles help set the scene’s atmosphere. Animated camera angles are more caricatured than the angles used for live action boards.

Workbook, an intermediary stage between boards and layout, was created in the mid-1980s when live-action producers first came into the animation studios. They found traditional rough-and-ready storyboards too hard to read. In workbook, layout artists redraw the storyboards to tie down camera and character moves and make the boards more cinematic. Workbook contains a rougher version of the camera fielding seen in television storyboards. Figure 14-10 shows two workbook sketches for a camera move.

[Fig. 14-10] A workbook sketch from MAGIC by Adam Fox. A camera truck is indicated along with (a) and (b) (starting and ending) fields. Background and foreground elements are carefully composed to frame the character’s actions. The workbook is designed shot-by-shot after boards are finalized. Reproduced by permission of Adam Fox.

Workbook resembles television boarding since it contains recognizable backgrounds and detailed camera moves. It is a form of layout and hence falls outside the scope of this book, but keep in mind that while some projects might accept quick, rough ‘acting’ boards and leave the final background and staging to the layout department, the story man or woman is usually required to indicate camera angles and cuts. If you are making your own short film, you may be the layout and story departments. Composing the camera, characters, and background objects in the panel makes it easier to follow the continuity, particularly in action scenes. It will also add dimension to your characters’ acting and make it easier to convey important elements in the story.

Stage your action in thumbnail sketches before proceeding to final storyboard. Thumbnails can be done on one sheet of paper. The story artist roughs out many small sketches to find the most effective staging for the action in a scene or sequence. The action sequence may use more pencil mileage, but you will find that the sequences with emotional depth and acting will be most difficult to do. Sometimes less is more in these instances. Final boards are drawn after the thumbnails establish the staging.

[Fig. 14-11] An example of rough thumbnails drawn on self-stick notes and the final storyboards for the same shots. Reproduced by permission of Brittney Lee.

A recent and very effective tool for the story man or woman is the simple self-stick notepad. These pads come in a variety of sizes and colors and enable the artist to create modular ‘mini-boards’ without the need for pins or large display spaces. Different colored notes can suggest light and mood changes. It is possible to display the thumbnails for an entire sequence in a very small area. The sticky pages are easily replaced or removed and can be arranged in different order with little effort. There is no need to scratch out or cut up thumbnails that were created on the same page. After the rough staging is finalized, full-sized storyboard drawings are worked up from the thumbnails as shown in Figure 14-11.

A background may be drawn only on the first panel of a scene and left blank on subsequent panels. If the shot is static the viewer will understand that the remaining panels of the scene take place in the same location. Details are added to later panels if the character moves to another location in the scene or interacts with background or foreground elements. A pan shot needs some indication of the background on every panel so that the camera move reads well.

[Fig. 14-12] Background indications are drawn in each panel of a pan shot to indicate that the camera is in motion.

Storyboard panels should contain only one idea per panel. If a scene is complex and involves a good deal of acting or action, panels are added as needed. Here is an example of how the same action can be boarded to appear short or long. The thumbnails in figure 14-13 are a brief indication of the action in the scene.

[Fig. 14-13] One or two thumbnails will convey the basic idea of a scene, but not the characters’ acting. Reproduced by permission of Brittney Lee.

The next figure depicts the same situation as Figure 14-13 with additional panels added so that the characters’ acting reads clearly. As a result this scene appears longer even though the timing for the film may not have changed a bit. Note how even a simple action assumes more importance when illustrated on a series of storyboards.

[Fig. 14-14] The storyboards now show details of the action and acting and incidentally slow the pacing of the scene before any animation or filming has been completed. Reproduced by permission of Brittney Lee.

A simple action may be simply staged, as shown in Figure 14-15. There is some hint of Papa Bear’s desperation but the action comes before the acting. Four drawings convey the impression of rapid action in a short scene.

[Fig. 14-15] Papa Bear’s basic action is blocked. The scene is short and direct.

A larger number of storyboards retimes the action in Figure 14-15 and expands Papa Bear’s emotional performance. Papa Bear’s desperation builds as he grows bolder and finally breaks down and quickly eats the porridge. The elaborate visuals in Figure 14-16 give the impression of a lengthy scene but the drawings may represent the same amount of time depicted in Figure 14-15’s four boards. Final timing is established by the director when the story reel or animatic is created.

[Fig. 14-16] Additional storyboards can change the acting even if the timing remains consistent. Papa Bear’s acting is now the main focus of the scene.

Both of these interpretations are acceptable depending on whether the director wants to emphasize the acting or the action in the scene.

A dramatic scene can become comic if the timing and pacing are right.

DRIPALONG DAFFY, directed by Chuck Jones, contains a hilarious parody of HIGH NOON. Two gunslingers advance along a Western street. We hear only footsteps and jingling spurs. Jones cuts to one ‘artistic’ view after another, alternating shots of the endlessly approaching duelists. Each shot is more elaborately framed than the previous one and the camera moves farther and farther away from the actors. Midway through the sequence the audience begins to laugh at the artificially drawn-out timing of the duel and the self-reverential staging. The too-numerous scenes become comic since the ‘artistic’ angles upstage the action and emphasize the fact that nothing much is going on.

The lengthy buildup to the shoot-out (which never actually takes place) turns drama into comedy. A dramatic acting scene will become comic if the emoting goes on just a little too long. There is a fine line between pathos and bathos that should not be crossed unless the ‘emoting’ is comic, as shown in Figure 14-17. Hold a dramatic pose too long and it becomes funny. Underplay strong emotional scenes. Provide hints that let the audience understand what is happening. Do not drive an emotional point home with a sledgehammer. Less is more.

[Fig. 14-17] Underplaying drama lets the audience participate in the story. If the emoting goes on too obviously for too long, drama can turn into comedy.

One or two panels may suffice to depict a scene’s action if the character’s attitude does not change. Figure 14-18 shows thumbnails for a scene that is visually weak. Dialogue is placed on separate cards underneath the panels. Two boards are enough for this scene since the character’s attitude or body language does not change during the delivery of the line. The characters are only “talking heads.”

[Fig. 14-18] A long speech may be depicted on one or two storyboard panels if the character’s attitude does not change from the beginning to the end of the scene. This staging is adequate but not very interesting. “Talking heads” should be avoided in long dialogue scenes.

A new board is used for each attitude change. Figure 14-19 illustrates the same line used in Figure 14-18, but in this interpretation we cut away from the close-up of Mama Bear to Baby Bear and some props. Mama Bear’s lengthy dialogue is now indicated as a voice-over in two panels. “Talking heads” quickly become tiresome in animation. These boards give us more insight into the characters’ performances and depict more interesting action than the earlier example. Animators will draw out the conflict even more when the characters begin to move.

[Fig. 14-19] The scene now cuts from the complaining parents to the more interesting Baby Bear. The dialogue is spread over several scenes. Two panels are lip synched and two are marked ‘V.O.’ for ‘voice-over’.

Boards that attempt to depict every key pose in the scene can appear precious and mannered. Figure 14-20 is an example of storyboard overkill or “animating on the storyboards.” This board artist is spending a lot of time doing something that is properly the provenance of the animator.

[Fig. 14-20] Six boards for one line of dialogue leave nothing to the imagination or to the animator. When in doubt, it is better to have too many boards than too few, but most will probably be tossed out or turned over during a storyboard review.

Figure 14-16 also uses a series of boards to illustrate action in one scene. There is an important difference between the two examples. Papa Bear’s attitude changes during his scene. He is also acting and interacting with a prop. The Wicked Witch’s attitude in Figure 14-20 remains consistent throughout the scene. She is not given anything to do except talk. There is no need for the lengthy series of storyboards. The scene works more effectively when the action appears on one panel, as shown in Figure 14-21.

[Fig. 14-21] Use the minimum number of boards that best convey the action and acting in a scene. The Witch’s attitude does not change, so her dialogue can be illustrated on one storyboard panel.

Remember that dialogue and acting will be modified during the course of the production. If you spent time drawing twenty panels for one line of dialogue when you could have conveyed the action and acting adequately with three or four, you will have much more work to toss out should the scene change. Do not waste time on self-indulgent exercises like the one shown in Figure 14-20.

Storyboard artists use graphic symbols to represent cinematic transitions such as fade-outs and fade-ins, swish pans, and cross dissolves. These symbols are indicated in Figure 14-22. A ‘fade-out-fade-in’ or a cross-dissolve imply a short passage of time. A fade-to-black will generally indicate a longer interval between sequences. A fade-up from black at the beginning of a sequence helps to gradually introduce your audience to your animated universe. Camera rotations, camera moves, and quick cuts serve as punctuation marks. Do not use them simply for their own sake.

[Fig. 14-22] Cross dissolves, fade-ins, fade-outs, and swish or flash pans are always drawn on separate storyboard panels. This makes it possible to shift or remove them if the storyboard is changed. Use these devices as punctuation marks to pace your action and sequences.

I worked on a film that contained an upbeat song and dance sequence. The story reel was assembled in the style of a live-action music video, with extremely short cuts averaging 12 frames or one-half second in length. The scenes were each illustrated with one storyboard panel. The sequence worked well when the boards were assembled into story reels but proved extremely confusing to watch when it was fully animated. The artists were mystified at first but finally understood that we were victims of visual overload. We viewed one storyboard drawing per scene in the story reel, so we were able to absorb the information it contained in very little time. The action became difficult to follow when a dozen animated drawings played in the 12 frames formerly occupied by a single panel. Each shot featured a new background and characters. The song provided story continuity but the quick cuts competed with the rapid-fire lyrics. It officially takes four frames for the audience to visually register a cut. This sequence’s rapid pacing, constantly changing settings, and complex visuals meant that each shot needed more than four frames to register with the viewer. All of the short scenes were lengthened by an average of 12 frames each so that the sequence would read, and since the song’s length remained constant, some scenes had to be cut to accommodate the new edit.

A live-action music video can use very short shots. A live-action film’s audience does not need time to suspend disbelief and accept the characters as ‘real’ beings. Music videos are not part of a longer film and do not need to worry about story continuity.

Pace your scenes by using a variety of short and long scenes where required. Use filmic punctuation, such as fades and cross-dissolves, to avoid visual overload. The story must be told in a clear and understandable fashion. There is no set blueprint for a film’s construction and interpretations of story materials will vary by filmmaker and culture. Variable pacing will maintain an audience’s interest in the story.

Climactic Events

A feature will build from small climaxes in Act One to stronger ones that illustrate the complications developing in Act Two. The strongest climax will usually occur in Act Three. Think of the story line as a roller-coaster where the twists and turns gradually build toward the biggest thrill just before the recovery at the end of the ride. Figure 14-23 shows a sample chart from the story of The Three Bears. A series of small climaxes leads up to the major conflict. The Bears’ emotional roller coaster is on a higher level at the end of the sequence than it was at the beginning.

[Fig. 14-23] The story climaxes of THE THREE BEARS gradually become stronger with the strongest climax occurring near the end of the story. The denouement, or summing up of the story, comes after the climax.

Climactic charts are not commonly used in storyboard, but you may find it helpful to sketch one out when plotting an original story. The strongest climax should come just before the story’s denouement. If the major conflict occurs in Act Two, the film’s third act can literally be anticlimactic. (Some films are constructed in this fashion. Circumstances alter cases.)

A script, if it exists, is a framework on which the story is built. A good story man or woman will “plus” written material with visuals that translate verbal descriptions into images. Good boards develop the characters’ personalities and the plot in equal measure. Avoid literally illustrating a script. Your visuals may lead you in another direction as they develop. A script suggests dialogue, story outline, and some character traits, but the boards bring these materials to visual fruition.

Storyboard takes a tremendous amount of work but your technique should never show onscreen. Everything in a film should develop from the characters’ conflicts and seem to happen by chance. If you hit your audience over the head with a story point, it, and they, will ache.

We now come to the climax of the storyboarding process: the creation of the animated performance.