Graphics Reference
In-Depth Information
Pitching
Pitching is the process where storyboard artists show and explain the boards to others.
During the pitch, the storyboard artist will point to individual panels and tell us what is going
on, often making sound effects or speaking in the different voices of the characters with the
appropriate expression. The pitch will indicate the pace of events by going through the
boards faster or slower. It requires that one is not shy and perhaps even has a bit of acting
ability. The pitch is presented to inform other members of a story team or the director and
clients. A pitch can help “sell” the storyboards and get them approved for animation, not
because they have been made to seem more entertaining than they actually are but because
they have been brought to life a bit more. In story teams, such as the major studios have,
you can expect that your pitch will result in your story being changed, rearranged, and even
thrown out sometimes. As Nathan Greno, Supervising Story Artist, Walt Disney Feature
Animation put it, “A successful storyboard artist is one that is open to new ideas. You CAN'T
fall in love with your boards. Your boards are not the fi nal fi lm—they won't be on the screen.
Don't spend too much time on your boards—they will most likely be completely thrown out
at some point. If that sounds too depressing, you best fi nd another department to work in.
Story is subjective. Your director is going to ask for changes. To be a great story artist; you
will have to be open-minded to throwing your work away. Even if you completely disagree
with your director, you are going to have to make the changes. It doesn't matter if you think
the director is crazy.” Stories can be told many different ways. Be willing to change your
plan often while searching for the best solutions.
Pacing
Pacing defi nes the rate of the action and the cuts. A dry, fl at story presentation may have
the cuts at even intervals. A stronger presentation may linger lazily on some images and
present others in rapid-fi re succession. The number of fi lm cuts may increase as the tension
and action build. The audience will feel a sense of urgency even if it is not aware that the
cuts are coming quicker. The best way to know if the pacing is working is to see the images
change during the pitch or to make the boards into an animatic or progression reel.
However, from the very beginning you must anticipate the pacing of your fi lm and imagine
the timing of the cuts.
Progression/Story Reels
In large studios, the animators will see what is called a
story
or
progression reel
at
several points during the production of the fi lm. The fi rst version would be made almost
entirely of the storyboard drawings with a scratch track, a substitute dialogue and/or sound
effects track. This is how the hundreds of people working on the fi lm can be kept informed
about the kind of fi lm they are making. As the project progresses, artists see updated
versions of the reel. The next version may have some of the storyboards replaced by anima-
tion. Perhaps a few color scenes would be cut in. Maybe some of the actor's recorded
