Notes from Exploring Storyboarding - Wendy Tumminello

Tumminello Wendy, 2005, Exploring Storyboarding, Canada, Thomson and Delmar Learning

1. Visual Producer and designer storytelling and storyboards

- Pg 2 reference of communication through visual in cave paintings passed on today through film, tv and game
 - visuals versus the story "If you tell a story you try to entice the audience into imagining it's content."
- "...when you show a story, you are moulding the message into visual imagery."
- Screen play - intended as a production tool for director and crewsmembers and includes slugline; screen description and dialogue
- storyboard visually link to comic strip without dialogue balloons

3. Fundamentals of the shot

- Pg 35 - illustration of camera shots on a person
- shot description similiar to 'Make Your own Hollywood Movie' and extra includes:
. Two shot - two characters occup the frame in a number of positions
. Insert shot - close up of action or an object
- Camera angles Pg 40 - 44
. High angle shot - a camera placed higher than the subject tilted downward evokes emotional response from audience
. Low angle shot - placed lower than subject and tilted upwards usually used for characters of power or when one character is positioned higher in the frame than the other
. Eye level shot - eye level with character identifies character as equal
. Bird's Eye View - directly overhead of the action allows audience to look down on buildings and bridges within a city
. Canted shot - views an image off centre or tilted, subject appears to be diagonal and off balance
- Camera Movement Pg 46 - 52 creates dynamic motion part of the story telling process within a storyboard
. Crane shot - camera placed on crane swooping down or up, covering great distances that produce usual angles
. Tracking shot - tracks alongside of the object or person (audience can follow)
. Objective shot - camera placed in neutral position audience observes action from side lines
. Subjective shot - most personal/ interactive, camera trades places with on screen character allows audience to see action through character's eyes.

4. From Script to final Storyboard

- Pg 60 - shot list includes camera framing, angle, script description and notes (example on page)
- Pg 62 - Practical, Aesthetic and Psychological Factors
. Practical - character's viewpoint of story being told
. establishing shot anytime a new location or setting is introduced
. starting with a close up view
- Pg 70 useful process (for project)

12. Animatics

- an animatic is a moving storyboard shows how scenes flow together begins with script
- guide for movement, dialogue and action
- help to previsualise a shot
- Hand - drawn + timed storyboards help directors communicate complex action scenes
- Pencil tests + Motion previews - motion of characters and objects, camera movement, character placing and timing
- Videomatic - rough video tapped version - blocked the action, actor placement, timing and angle - use of actors or production to assist with bluescreen later removed and replaced with matte painting
- 3D animatics - computer generated instead of hand drawn - basic rules still followed
- easier to animate