Storyboarding

First Light have provided this guide to story-boarding which shows a range of shots that you could employ.  The only part i would disagree with is the use of stick men if you cannot draw.  Avoid this advice as the point of story-boarding is that you show the director and wider team exactly what is in shot. A stick man cannot do this.

Some students have used online storyboards which have some merit and are quite fun. This one is called 'storyboard that'.  The limitations are that they don't allow the film making crew to alter the plan and storyboard on location or when an idea comes to mind. An ability to sketch or draw effectively is an essential skill. It allows you to visualise a scene and explain it through a drawing which replicates exactly what will be in the frame. An image tells a thousand words and this is the most effective way of sharing filmic ideas.

When assessing coursework this is an essential step that is often missed out and it is clear in the edit that this aspect of planning is not thorough.  The best work has clear continuity with a depth of thought about mise-en-scene, camera angles and types of shot. It shows an awareness of film language and allows teams to work effectively. Sound is an aspect that is under-valued and by stipulating direction on the storyboard this becomes explicit in planning and not an afterthought.

There are a number of sites which will offer templates for storyboards and there is no rule as to which template is the best.  Itis a creative process so choose the style which suits you.

I would favour this one as the frames are in widescreen and are big enough to add detail. Six cells to a page allows continuity and there is room for written direction in the box beneath which is essential for planning and indicating sound and the type of shot envisaged. There is always more detail to be explained and this space allows for revisions and notes during production.

Storyboard artists are increasingly in demand in the creative industries. Design agencies and advertising are two areas that require skilled artists to bring their ideas to life and to prepare pitches to clients clearly showing ideas. These examples are from Storyboard London, a company made up of storyboard artists working in a range of mediums and for a variety of clients.

In this advertising animatic the storyboard explains the narrative.

 Take time over this stage and use your imagination to create a visual representation of your thoughts and ideas.

Use colour and aim to fill the frame with detail so that the director can recognise the type of shot and aspects of mise-en-scene such as facial expression and body language.

Make sure the image clearly reflects the script and direction explaining costume, location and props.  Try to avoid any ambiguity between types of shot so that continuity editing is paramount and laws such as the 180 degree line of axis are not broken.