(ebook) Directing the Story () from Dymocks online store. Francis Glebas, a top Disney storyboard artist, shows how. Read "Directing the Story Professional Storytelling and Storyboarding Techniques for Live Action and Animation" by Francis Glebas available from Rakuten. Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation eBook: Francis Glebas: smeltitherabpigs.cf: site Store.
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Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation by Francis Glebas. Read online, or download in. Editorial Reviews. Review. Francis Glebas has put together a really comprehensive and Francis Glebas (Author) eBook features: Highlight, take notes, and. "Francis Glebas has put together a really comprehensive and thought-provoking look at the art and craft of film making, specifically directing. His approach.
But we better make sure that something happens or our audience will lose interest. Lets begin. Okay, they are leaving home. Wait, how do we know that? They could just be going for a hike. We have to show their home. That is better, but this could be any house. How do we show it is the pigs house? Yes, this is the pigs house. But, we want to show it with images, not rely on words. We could show their mother waving good-bye.
Okay, now we have our opening shot.
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This is a storytelling image that clearly shows three little pigs leaving home, and who are afraid of a wolf. Will the three little pigs be able to survive the wolf?
But that is a mouthful. When we speak we can only say one word at a time. Our image says four things at once: There are three little pigs, they are leaving home, they are afraid, and there are scary animal tracks. The way we tell a story with pictures is to break it down into a series of images that each show one thing at a time, just like when we speak in sentences.
One idea comes after another. There is a problem with the order of the images. In this image the pigs are afraid. But we havent shown what they are afraid ofthe wolf tracks!
Lets try again. We add this insert shot. This works better. The pigs are afraid because of seeing the wolfs tracks. We generally show the cause before the eect. By adding the insert shot of the mother waving good-bye we can cut back to see the pigs are now out on the road. This creates a better ow between the images.
Any time we do not see the linear ow of time because it is interrupted by another shot, we can assume more time has passed. We dont have to show all of that walking. Lets add one more shot. A reaction shot. The mother pig is sad that the pigs are leaving home. This shot shows how she feels. Lets insert a bit of personality to show their characters, before the pigs see the wolf tracks.
The two pigs clown around making the other pig angry. In addition to adding something fun to watch we have reinforced the theme of our story by showing the dierent attitudes of our pigs. In addition, by having the serious pig remind the others that there may be a wolf around, we have also subtly reminded the audience of this potential threat.
This is how we foreshadow events to come. The pig is stepping into trouble. We can contrast the threat with a joke. The serious pig is so busy shushing the other two that he trips. The other pigs laugh. They laugh until they see what he has tripped over Wolf tracks! Our serious pig tries to persuade the other two of the danger. We are now more concerned for the two playful pigs because we know the threat is real and they are ignoring it. The comedy has taken the pigs o guard.
Contrast between comedy and horror makes the story sharper. It is scarier because we were lulled into a false sense of security. What is next? The fairy tale starts with the rst playful pig borrowing hay to make his house, then the next pig borrows sticks to make a stick house, and nally the last pig makes his house of bricks. Thematically we want to keep the contrast between the smart and clownish pigs.
Let the smart one start on his house of bricks, but then we will follow the other two pigs as they continue their journey. The problem with the story is that the pigs each repeat the same actions. Visually we would be repeating ourselves with images we have already seen three times. After we have seen something happen once it is boring to see it again, unless something happens to make it dierent and thus interesting. So it is time to move on and follow the two playful pigs.
We want to compress time. You dont have to show everything. We want to only show those images that move the story along, the ones where something happens. We show the pig starting his brick house. Later when we come back to him, we show him putting on the finishing touches on the house.
The audience assumes while we were watching the exploits of the two clownish pigs, the smart one was at work building his house of bricks. We have let the audience do our work for us. You do not have to show everythingonly what is interesting. The narrative question that drives the Three Little Pigs story is not, will the pigs be able to build houses?
The question the audience wants answered is, will the pigs survive the big bad wolf? Building houses is the means of surviving the wolf. A comedy version of the story could include mishaps in building houses of hay, sticks, and bricks, but for now we are going to play it straight. The two pigs are further down the road clowning around. Their play is interrupted by a wolf howl. How are we going to show this?
We could show a shadow eeting through the background of the frame. But we are going to do it with an expression change. The ingredient that makes this work is cause and effect. The wolf howl is the cause, and the pigs reactions are the effect. They stop and their expressions change from laughter to terror.
A change of expression shows what a character is feeling and thinking. Now with the wolf near, they have to scramble to make their houses. We will stick with the one with the house made of hay. How do we show the pig building a house? Remember we dont have to show everything.
Lets just make a patchwork of building parts of a house: picking up some hay, putting down some hay, tying it in bundles, placing support pieces. Well, you get the idea. So how do we show it is nished? Here is one idea, the pig is exhausted from building his house, even too tired to go inside to sleep. This can be used to create more tension.
Will he get inside in time? Finally, it is time for the wolf to show up. I think we have to go back to casting. This wolf isnt scary. Ah, there is a suciently scary big bad wolf. But wait, we can milk more suspense out of the arrival of the wolf.
What about setting the tone with a moody shot of the full moon? Now our playful little pig is safely snuggled in his house of hay. But what if he isnt? What if we reuse the shot from before of him still sleeping outside? Before, this image meant that the pig was tired from nishing his house. Now it means that he has rested outside too long and is exposed to danger.
The very same image now has a dierent meaning because the context is dierent. If we show the reaction of the pig as he senses the presence of the wolf we build even more tension. Now there is a scary wolf. By keeping him in the shadows he is scarier. Just by tilting the image we have raised the tension level. We feel o balance, something is amiss! The playful pig panicked. We are working with moving pictures so lets let the pig pace back and forth not knowing what to do. The nervous motion enhances the tension.
There is the wolf but it is kind of hard to see what he is doing. Lets move the camera to get a better view of him. The story tells us that the wolf threatens to hu What happened? It looks like the house fell down and pu and blow the house down. We are not going too easily. The big moment of the story was over to say it. We will show it. We need to linger on the details that make up this moment.
Lets break down the story beats that we will need to show this action. First, we have to show the wolf eyeing the house of hay. What do we do next? Well, the story tells us that the wolf will hu and pu. In our rst version we left out the hu. We didnt anticipate the action of the pu and so it appeared as if the wolf did nothing. Anticipation to an action tells the audience that something is about to happen. Lets do a big anticipation of the action by having the wolf take in air for a big pu.
Exaggerate the pu. If you are going to blow down a house, it is going to have to be a really big pu! How can we intensify it even further? We have shown the action in a long shot showing the wolf and the house. What if we just focused on the action of the wolf?
Lets just frame what is important to the action. Our images now tell the story of the wolf hung and pung. But did he blow down the house? This is an added benet of framing the action closerit raises another narrative question. We want to know the result of the pung. Here is our answer. The wolf did blow down the house, and we delayed revealing what happened.
When we cut to the result, it is funny! If these actions were shown all in one shot, it wouldnt have been as funny. We always want to keep our theme in the background of our mind, so lets insert a closeup shot of the wolf stepping on the musical instrument.
The wolf has destroyed the icon of the clownish attitude. That is what the image shows. First is the anticipation, next the action happens, then reactions happen, and nally there is the aftermath. For the aftermath of the pung action, we can show the pig being eaten. We now have a choice to make. What happens to the first pig? According to our theme, if one is foolish, you could find yourself in the belly of a wolf.
We may not want to show this gruesome detail. As We have left out the gruesome action and just an alternative, we can show the aftermath of the show the aftermath, just as we did with the pig pig being eaten. Or, we can leave it open-ended and up to the imagination of the audience to decide.
Do they think he was eaten or do they think he escaped? These questions keep the audience watching. What happened? What is going to happen? Once you have submitted your order you will receive confirmation and status update emails. If you order multiple items and they are not all in stock, we will advise you of their anticipated arrival times. For items not readily available, we'll provide ongoing estimated ship and delivery time frames. Once your order has been dispatched from our Sydney warehouse you will receive an Order Shipped status email.
This will contain your tracking information All our estimates are based on business days and assume that shipping and delivery don't occur on holidays and weekends. Delivery with Standard Australia Post usually happens within business days from time of dispatch. The signs on the Internet arent well marked so make sure you bring your shopping list of what visuals you need. I am sure along the way you will find plenty of links offering a serendipity of surprises that generate new ideas to enhance your project.
Cut out magazine pictures or shoot your own references with a digital camera. You should build your own reference library of images that you can go to when you need inspiration. And of course, watch lots of movies. After you have collected images that inspire you, the fun begins. Visual development is the creation of the look of the world of your movie. In designing characters, physical appearances tell a lot about what people are like.
The goal is to create a fresh version of stereotypes. Stereotypes allow the viewer to quickly understand the type of character that we are dealing with. That is why they are useful. Problems arise in real life when we try and judge real people as if they are stereotypes.
Problems arise in movies with stereotypes because they are predictable and thus boring. In the film Cat Balou the infamous hired gunslinger breaks the stereotype by showing up as a washed-out drunk.
Cat Balou herself is a breaking of a stereotypeshe is a female outlaw. Blade Runner creates a novel version of a futuristic city bathed in neon and fog. The visual look of a film is under the domain of the art director and production designer, however, the storyboard artist can often be the first one to enter and explore the world. Various Types of Storyboards Each medium has evolved its own version of what is included in storyboards based on the artistic and financial needs.
In animation every aspect of each scene has to be designed and created. Storyboards for animation have to provide a clear depiction of the acting for the film.
In live action the storyboards do not need to depict the characters emotions because the actors themselves provide the emotions. In live action we want to give the actors freedom to explore in their performances. The actors are not going to follow a storyboard. It is a visual guide for the director. Cinematography and blocking accomplishes for live action what the layout department does for animated films. Camera lenses have to be chosen and camera placement and movement has to be choreographed to work in time with the movements of the actors.
Actors have to hit their marks on cue for a scene to work. Storyboards for a live-action scene could be as simple as an overhead diagram or map of the action. Live television shows are often edited from a choice of three possible cameras so storyboards arent necessary.
They are usually shot on small sets. The same kind of visual thinking is still necessary though. Television animation due to tight deadlines and even tighter budgets must be tightly composed.
The characters must be on model, with the layouts established and all the continuity worked out. Continuity refers to the seamless flow from one shot to the next.
Story reels are essential for the construction of an animated film. They are the emotional road map for the film. Another use for storyboards is that of special effects.
Often these shots will be live action with computer-generated special effects composited together. The storyboard is the bridge that allows the tight synchronization involved in creating live-action actors interacting with virtual monsters, supernatural forces, or moving through complex architectural spaces.
The Beat Board Before the actual storyboarding begins, artists create a beat board.
These are a series of single drawings that each represents a scene of the movie. The drawings tell a more complex story in a single picture much like a childrens book illustration. The beat board serves as a guide for the director to pitch the story to executives, financial investors, and the crew.
The Beginning Basics 49 can still be made. It is a template of the finished movie set to the actual time. Story reels need to have much more reliance on continuity, including entrances and exits of characters into the frame. This will require extra storyboard drawings to be added to create a smooth flow of images. Story reels are a great way to spot and solve story problems.
When the story reel plays well, the film can only get better. The Refinement Process The refinement process is where ideas in the reels need to be clarified for the audience to understand. The story reel allows us to see all of the pieces in context. Ideas may be reordered to find the best way to present a gag or build suspense. Parts that slow the story down should be edited out. All writing is rewriting and this applies to storyboarding.
Pitching Example beatboard. Once the storyboards are completed, then comes the fun of pitching them. This was a big surprise to me. When I first started storyboarding, I thought all that I had to do was draw pictures.
Boy, was I wrong. Pitching is the process of showing someone your storyboards whereby you perform the dialogue and briefly describe the action as you sequentially point to the drawings.
It should be performed in real time, that is, the pitch should take as long as the sequence will take. When completed the director and producer should have a very good sense of how the sequence will appear to the audience. When I teach how to pitch to my storyboard class, I pitch a sequence and do everything that I can wrong.
Then I ask my students what I did wrong. This makes them think and it demonstrates that if you make these kinds of errors you will lose your audience. They wont be able to follow the story.
Since I cant do a terrible pitch for the reader, I will demonstrate with a series of drawings. Storyboarding Overview Read the script and analyze the key dramatic storytelling beats. You want to find the shape of the material, just like our three-panel comic strips. Where do you want to start the action? Where does the action turn to a new direction?
What is the payoff for the action? What is going to capture the interest of your audience? You need to develop appealing characters with unique personalities. How would they perform the actions? Make sure they are expressive. Figure out whose point of view to use to present the material. Try to discover the compelling theme within the story. This is ultimately the reason that viewers want to watch. Storyboards are used to plan many aspects of movies. At this early stage strict continuity is not crucial, the story is.
A refinement pass can be used to map screen geography and plan cinematography, camera angles, and blocking. Storyboards help plan complex action sequences with moving cameras. Explore and experiment because it is cheaper to try out ideas on paper before animation or live-action shooting begins. Storyboards are always a work in progress.
Dont be afraid to throw drawings away. A final note: Number your drawings! Story Reels A story reel is a version of the completed storyboards combined with voices and temporary music. It gives a great idea of how the movie is playing at a very early stage. It allows for fine-tuning the progress of the movie, at a point when changes First of all you have to rehearse beforehand. You must know the story you are pitching inside and out. You dont want to have to think about what happens next.
Dont hide the drawings with your body. The audience has to see the drawings in order to follow the story. Tell your story simply and clearly with passion to keep the pitch dramatic.
Dont apologize for any imperfections. Storyboards are an intermediate step where changes can be made.
You need to believe in the story and project that excitement. Make eye contact with your audience. You need to engage them in the story.
During the pitch you are the storyteller and you set the pace. Dont explain the camera work. The drawings show that implicitly. The script doesnt contain details about camera moves it simply tells the story, so should you. Be passionate about your story but dont overdo it. Now, lets return to see how Scheherazade is faring with pitching her story to the sultan.
Will he fall for her story of Dumb Love? Pitch your story in real time. Dont drag it out unnecessarily. Scheherazade holds up the drawing for her sister. Dunazade looks at the drawing. The sultan approaches. Scheherazade looks at the drawing and sees How light it is. Dunazade reaches into the re and grabs a piece of charcoal.
The charcoal makes a bold line. The image takes shape. Make sure that you draw BOLD. Use a grease pencil, marker, or 2B pencil.
Dont use a hard pencil. Drawings should read from across the room.
(ebook) Directing the Story
And number your drawings. I was nervous before, now I was terrified. To this point in my career I hadnt had much experience at pitching. The Gong Show In some ways Scheherazade had it easy.
She didnt have to pitch her ideas at a Gong Show. This drawing says it all. I did make it through my first Gong Show and lived to tell you about it. Learn to ignore the fear, terror, and anxiety, and relentlessly pursue your vision.
Learn to create opportunities. Remember if you fail in your story, you dont risk death. This was an internal forum where employees could pitch their ideas for new animated feature ideas to the executives. When I learned about this I signed on immediately. I thought that this was an amazing opportunity that didnt happen everyday. Unfortunately, I didnt have any ideas yet, so I worked at coming up with ideas.
I created a few concepts, designed a poster to promote each of them, and went off to the Gong Show. It was a big conference room. I sat nervously waiting. All of the participants waited on pins and needles. Finally, the executives entered 52 How to Tell a Story with Pictures Tell the story in a sequence of juxtaposed images. It is all too easy to assume that they are doing so, but you need to pitch the story to people and then see if they got the same story and the message you intended.
Three Little Pigs has a simple repetitive structure that even children learn how to tell easily. It begins, Once upon a time, there were three little pigs.
Our picture says, Here are three pigs. Already we have a small problem. These pigs could be little or gigantic. We dont have a frame of reference. Compared to the tree we can see that we have three little pigs. Size is always a comparison between things. Here we have the wolf and the three pigs. But we have introduced a new problem.
There is nothing happening. How do we show the pigs are afraid of the wolf? This image says, A wolf is chasing three scared pigs. But since this happens later in the story, we dont want to show the wolf yet.After we have seen something happen once it is boring to see it again, unless something happens to make it dierent and thus interesting. The story is absorbing even though it's done in sketches.
Do they think he was eaten or do they think he escaped? You dont have to show everything.
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And number your drawings. Already we have a small problem. The wolf howl is the cause, and the pigs reactions are the effect.