Download The Art of the Storyboard A Filmmaker's Introduction, Second Edition PDF

TitleThe Art of the Storyboard A Filmmaker's Introduction, Second Edition
ISBN 139780240809601
CategoryArts - Film
Author
LanguageEnglish
File Size14.6 MB
Total Pages208
Table of Contents
                            Front cover
MirKnig.com
The Art of the Storyboard: A Filmmaker’s Introduction
Copyright page
Table of contents
Dedication
Acknowledgements
Introduction
Chapter 1: The Storyboard’s Beginnings
Chapter 2: The Storyboard Artist Is Part of the Preproduction Team
Chapter 3: The Storyboard Artist and the Storyboard
	THE DIRECTOR’S VISION
Chapter 4: Basic Components and Principles of the Storyboard
	RULE OF THIRDS
	FOREGROUND, MIDDLE GROUND AND BACKGROUND
	DEVELOPING DRAWING SKILLS
	SHOT ANGLES
	BUILDING THE STORYBOARD
	CLASSIC FILM EXAMPLES
Chapter 5: Adding Reality with Perspective
	PERSPECTIVE
	CLASSIC FILM EXAMPLES
Chapter 6: Design, Composition and Color
	DRAWING HUMANS IN ACTION
	LIGHT AND SHADOW
	THE IMPORTANCE OF COLOR
	DESIGN AND COMPOSITION
Chapter 7: Illustrating Action in Your Storyboard
Chapter 8: Light Sources and Depth of Field
	LIGHT SOURCES
	DEPTH OF FIELD
	CLASSIC FILM EXAMPLES
Chapter 9: The Shot, Its Dynamics and Its Function in the Storyboard
	MONTAGE
	EDITING
	DYNAMIC DESIGN
Chapter 10: Animatics: The Future of Motion Control
	SEQUENCING
	EDITING
	SPECIAL EFFECTS
	A REAL-WORLD ANIMATIC
Appendix A: Additional Resources
Appendix B: Glossary
	LIGHTING
	CAMERA ANGLES
Index
                        
Document Text Contents
Page 2

The Art of
the Storyboard

Page 104

94 The Art of the Storyboard: A Filmmaker’s Introduction

Figure 6-5 Use the model to sketch the human fi gure in action.

● The halfway point from head to toe would be at the pubic arch.

● The length of the arm to the elbow coincides with the mid-point of the torso or
trunk.

● The tip of the hand held straight down against the thigh approximates half the
body height.

● The width from shoulder to shoulder is normally two head lengths. Female
shoulders are narrower.

Page 105

Design, Composition and Color 95

Figure 6-6 Proportion for drawing the human body.

● The female pelvic area is wider and legs of the female form are normally longer
than those of the male fi gure.

See also the gesture illustrations and other references to anatomy.

I have indicated in Figure 6-7 of the human head what I call the Picasso line. In his
Cubism phase, Picasso loved to break up the human head into two or three sections
or more. My Picasso line divides the head into only two sections. This line follows

PICASSO LINE: To illustrate the
sculptural form of a face it is a
line that follows the contours of
the face from forehead to neck –
resulting also in a “profi le” of its
own.

Page 207

202 Index

structural make-up diagram, 152
world created from, 19

storyboard artist
concept sketch, 9
job of, 5
listening importance, 36
as part of preproduction team, 9–26
people benefi ted by, 4, 5, 9
as pre-visualization interpreter, 9, 16,

26
skills needed, 27
as visual spine of screenplay, 18

Strike, 26
Superman Returns

as action, adventure, and superb
visuals example, 111

as digital revolution example, 4

Tartaglione, John, 123, 125–129
Taylor, Elizabeth, 148
Terminator 2 Judgment Day

as morphing example, 21
sketches from, 63, 67–68

Thief of Baghdad as superb use of
Technicolor example, The,
101–102

Throne of Blood, 35
thumbnail sketch

defi nition, 190
on-the-spot, 9

Tiko and the Shark as design and
composition example, 105–106

Tisse, Eduard, 15
Titanic

cost of, 28
as visual effects example, 21

To Catch a Thief as color use example,
101

Toland, Gregg, 10, 55, 81, 144, 156,
159

Tom, Winnie, 176–177
Touch of Evil an storyboarding scenes,

10–11, 13
Toy Story as effect on Disney’s hand-

drawing facility, xi
tracking shot defi nitions, 54, 191
Trip to the Moon, 1
True Grit as over-the-shoulder shot

example, 54, 55

Truffaut, Francois, 103, 104
tutorials, 7, 26, 36, 68, 88, 109, 130,

149, 173, 182
Twister as special effects example, 21
two-point perspective

corners and, 75
defi nition, 190
examples, 74, 78, 83

vanishing point (VP)
defi nitions, 69, 190
elevator effect and, 79, 80
examples, 7, 70, 73, 74, 81, 82,

120, 122
explanation of examples, 71, 79
eye level and, 72
movement of, 75, 80
one-point perspective and, 69, 72
orthogonals and, 72, 75

Venus Mountain as stick fi gures
interpretation of script examples,
57–60, 61–62

Vertigo as adding reality with
perspective example, 85

VFX. See visual effects
Villar-Hauser, Ludovica, 176
visual effects

Adventures of Baron Munchausen as
example, The, 31, 32

animatics as stand-in for, 176
computer graphic imaging infl uence

on, 4
defi nitions, 4, 190
Spiderman as example, 21
Titanic as example, 21

VO. See voice-over
voice-over defi nition, 190
von Sternberg, Joseph, 57
von Stroheim, Eric, 9

War of the Worlds budget, The, 25
Wayne, John

Quiet Man, The, 101
Stagecoach, 127, 163
True Grit, 54, 55

Welles, Orson
checking setup for shot, 156, 159
Citizen Kane as action examples,

119–120

Page 208

Index 203

Citizen Kane as stunning visual
presentation, 18

close collaboration with Gregg
Toland, 10–11, 55

key light example, 144
Touch of Evil, 10, 13

Wheeler, Lyle, 15, 17, 27, 60
Willis, Gordon, 163
Wizard of Oz as stunning visual

presentation example, 18

Woman to Woman, 20
Wood, Sam, 27
Wooten, Ben, 9
Wyler, William, 11

Young, Freddie, 146

zoom shot defi nitions, 54, 191

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