Graphics Reference
In-Depth Information
dialogue would be inserted to replace the scratch track and some of the fi nal music score
may be heard.
Animatics
Digital technology has provided nearly every story artist with a number of computer programs
that allow them to make a progression reel from their storyboards. This digital video version
of a storyboard is usually called an animatic. You can photograph or scan the drawings
and play them back with the correct timing and many of the editing transitions that will be
used in the fi nal fi lm. Sound can be added as well as text and even some camera moves
and simulated effects. This is very useful for the independent fi lmmaker. The process brings
you that much closer to the full realization of how the fi lm is going to play before you make
the fi nal version. During the animatic stage, it is easier to see if transitions are working and
if rhythm and pacing feel correct for the story. You can coordinate the soundtrack with the
images and generally have a clearer vision of the fi lm. How far you go with the animatic
varies. Some of the animatics on the DVD that comes with this topic show a basic skeleton
of the shots, while others are nearly fi lms in their own right.
Digital Storyboards
Some video game studios are doing all their storyboards and story presentations digitally.
Feature animation studios are beginning to change as well. As Paul Briggs, a relatively new
member of the Walt Disney Feature Animation story team, said, “I personally start out by
thumbnailing on paper and fi guring out the major beats in the sequence. I'll then work all
digital on a 21
Cintiq monitor drawing all my boards in Photoshop. I usually work straight
ahead but once I'm done with the sequence, I'm always going back into it and reworking
it. Whatever you feel comfortable using and best conveys your ideas is what's important
though. A lot of artists still draw on paper and use chalk, crayon, marker, pens, etc. Others
work all digital using Photoshop or Painter.” Paul Briggs also said that he presents his work
to the directors by projecting the drawings using a computer program which allows him to
move and delete boards as well as change dialogue. This will surely become more prevalent
in the future, so it is a good idea to become familiar with these programs and the digital
drawing tablet.
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Summary
• Storyboards plan and communicate the shots and transitions of a fi lm.
• Drawing skill and versatility are essential to professional storyboard artists.
• A knowledge of fi lm language and cinematography is essential.
• Design elements embody the emotional messages in a fi lm.
• Thumbnailing is how we start the visual process.
