Graphics Reference
In-Depth Information
Storyboarding Checklist
How do you know if your storyboards are doing everything they need to do to captivate
and inform your audience? We are often trying to consider many issues at once when plan-
ning a fi lm. This checklist may prevent you from missing important choices.
• What is the important storytelling information in this frame? What exactly needs to be
seen?
• Does the image convey the emotion of story as well as the specifi c data of the
narrative?
• Does the image tell what is happening clearly? Is my craftsmanship effective? Is
there any chance the audience could be confused or unsure about what they are
seeing?
• Are there “gaps” in my storyboard? Do I need more panels to make the story complete
and to keep the fl ow of action and ideas working?
• Will the viewers look where I want them to look? Have I chosen the best camera angle?
Do I need lighting or color to direct the audience's eye?
• Is this panel too predictable? Do I need to spice things up? What are some other
options?
• Should I consider putting foreground elements between the camera and the main
subject of my shot? Should I use frame in frame for this composition?
• Do the drawings fl ow visually and stylistically from the panels before and after?
• Should I move the camera to change this shot from the shot before and after, where
and why?
• Have I put the audience in the action by using POV and other more intimate shots or
have I kept the audience observing at a distance? Which is more appropriate at this
point in the story?
• Will the storyboards that I am doing now require that I go back and re-evaluate and
then redraw some of my earlier story panels?
• Have I captured the most telling pose, gesture, action, or facial expression? Does the
body language convey what my character is thinking, feeling, or doing? Do I need
more reference, research?
• Does the character appear to be moving, in action, when action is required or does
it look like a frozen pose? Do I need speed lines, arrows, or multiple images? Can I
represent the essence or totality of this action in one drawing, or will I need to break
it down into several panels?
• Are the light and atmosphere important parts of telling my story, setting its mood or
emotional climate?
