Seven Principles of Storyboarding

So Storyboarding is something that everybody attempts when planning and designing any visual narration, even if the approach isn't refined. But what are the principles? Well there don't appear to be any in a fixed mutually agreed set. Animation has them, Photography and Editing does too! So why is it all open-ended for storyboarding? The answer could be be due to the fact it feeds into multiple disciplines and AoP's (areas of practice) across the production pipeline, taking into consideration their respective needs.


To this end I have produced Six Principles of storyboarding that borrow heavily and tailor many existing principles and theories from peripheral AoP's I felt are relevant to it.

Story-telling-(See Aristotle's Poetics, Joseph Campbell's Monomyth) The ability to communicate a narrative to the audience effectively lies in the art of story-telling. A story invariably plays on known archetypes and stereotypes, and base fundaments are a must to weave a narrative: a protagonist, antagonist, conflict, journey and resolution, or as Aristotle catagorizes them: Complication and Dénouement. There is no story without these, though they do not necessarily need to be in a given order of chronology. Through storyboarding, the purpose must centre around serving the story, and these elements.

Solid Drawing- (Borrowed from Animation's 12 principles) Beat boards, storyboards and animatics rely on strong solid drawing in order to communicate ideas and themes. Without clear economy of line, effectiveness of poses, gestures and body language, the performances cannot be readable, and the message may become lost in translation. Furthermore, your boards will remain incoherent and therefore fail to tell and serve the story. Mark-making techniques and the Line of Action achieve this.

Compression- (Borrowed from Will Eisner's published theories) If a story can be expanded, it can be compressed. Distilling the narrative to its bare bones can ensure the main arc is understood, and therefore illustrated to its maximum potential. Several scenes can be compressed into one effective encompassing image. This is economical in many ways, and refines the story-telling. Establishing your Three Pillars, and distinguishing your Secondary frames achieves this.

Framing and Composition- (Influenced by Photography Principles) To carefully and meticulously position frame ‘clutter’, such as objects, architecture, lighting or people to be aesthetically pleasing, emotive and effective to the given moment in the story. Symmetry, or the rule of thirds lend themselves to pleasing composition. In storyboarding, this can also help with fore-shadowing an action, or build anticipation, with the interplay of what may be unfolding in the background, middle-ground and foreground. Geometric blocking and/or the Line of Action can aid this.

Pace and Rhythm- (Influenced by Animation Beat Boards, and Editing Principles) Understanding the flow of a sequence or story as played out in several frames is key to ensuring a smooth transition from one scenario to the next. Holding beats and building drama is crucial to engaging and manipulating the viewer. Beat Boards' prime objective is to identify these 'moments' in the pace of a narrative. Editing in animatics can emphasize and establish the rhythm of the sequence.

Tonal Value-( Influenced by Comic book/Graphic Novel theories) The addition or deliberate omission of colour and tone of the images further aim to evoke an emotion or visual sensation from the viewer, aiding in the mood of the narrative. Furthermore, its potential as a story-telling tool is invaluable, as carefully placed lighting can create allusions to thematic undertones, or literally draw the viewer's attention into a particular area of the frame. Colours can be juxtaposed, used to infer, or directly reference thematic elements to a story.

3D cinema: post-production, production or pre-production?

On the one hand we've got many film critics (and myself included) who absolutely slate the addition of 3D in most films (though I was impressed with Avatar!!), saying at best it does little to add to the driving narrative; at worst, detracts and undermines it. On the other hand, however, we've clearly got big name film-makers, such as Peter Jackson, actively promoting 3D as a useful visual tool. So...do they know something we don't? Or is this just a fad that will die out?

We know 3D cinema isn't a 'new' thing; it has roots going back decades to the 'golden era' (see: Bwana Devil (1952); Man in the Dark (1953); House of Wax (1953) ) when it was first introduced. It died then as a gimmick and has resurfaced consistently with new bursts to the point where, technically, 3D has never left us. It's everywhere: TV, film, documentaries, web-videos, etc. But within the last ten years 3D has very slowly but surely started to rear its head again as a major marketing tool in cinema. That said, the aforementioned Avatar from David Cameron has certainly re-sparked curiosity and interest in the potential of 3D (though the pairing with IMAX presentation worked to its chief advantage.)

Filming in 3D.

Relatively speaking (though not exclusively) 3D has two major entry points into the film-making process: the first is the conversion method. This path is likely the source of the most criticism among detractors. Better articles and sources, on-line of off, can explain this process; however, for the layman, it is essentially the conversion of 2D footage (traditional shooting), merging two versions of the image, re-creating the depth of field illusion: 3D.

The other technique is shooting in Digital 3D; physically having two digital cameras mounted either-side of the required 'viewpoints' so that (usually) in post-production, they can be rendered into the appropriate 3D effect. This method largely achieves the more authentic illusion, though it is not without its drawbacks.

This leads me to my question: where does it belong in the production pipeline? Based on the above, it seems to fit comfortably within the tail-end of production, and squarely in post-production. What about during actual filming proper; the manipulation of 3D there and then whilst shooting the scene? What about 3D dropping down the pipeline scale into pre-production? Well, the below video seems to offer some interesting answers...

Now for an aspiring storyboard artist, I have to say, this intrigues me. Production illustration using 3D as a conceptual device? Pretty cool. Although...I'm still sceptical. Clearly what Alan Lee and John Howe are exploring is in its infancy, but even then, I couldn't quite see what the advantage was to Peter Jackson. Does he really need to have a crude rendition of 3D put in front of him to visualize it? How is that aiding the visual storytelling decisions? To me, it looked little more than an experimental gimmick; and yet, Lee and Howe are not ones for advocating such things. So it must be a legitimate attempt at something innovative.

But rather than commenting on the effectiveness of what was shown towards the end of that production blog, what particularly interests me is the implications of what they are attempting to do. If 3D is failing to impress critics due to it not adding to, or actually hindering, the central narrative, then by placing this method at the heart of where the film's narration is born is probably the most logical decision to have come from this resurgent technology. Pitches, design meetings, screen-writing, storyboarding, production illustration all come into play in outlining and formulating the essence of the story. Everything that comes after in the production pipeline is there to enforce and re-iterate the narrative's strengths: Cinematography, Sound, Editing. If 3D in concept can be placed firmly in pre-production and during production as a valid and important story-telling device, or visual 'problem solver', then maybe...maybe 3D can show that Avatar was the start, not the pinnacle.

At any rate, for my own personal learning, I'm keen to take things one step further from Lee and Howe and actually try and explore the validity of crude 3d rendering on storyboards (whether it is successful or not). Framing, composition, visual 'editing', and a sense of time are all crucial elements to Storyboarding. So, why not add evolved manipulation of Depth of Field to the process? Literally step inside the frame on a conceptual level...

The Last Laugh

So this post is centered around a video-response micro-project for my MA course module. The video in question can be viewed below:

In the Cut, Part I: Shots in the Dark (Knight) from Jim Emerson on Vimeo.

In response, I set about to re-storyboard the Dark Knight convoy sequence, from my own perspective, to help answer the visual 'problems' as proposed by this video, whether they are valid or not. The boards are extremely rough (as was the overall exercise), but nonetheless hope to communicate effectively some of the alternatives I have offered. You will notice that many frames mirror precisely the original scene; this is not done in laziness but rather where I felt that what was given was the natural way to shoot it. In other frames, however, I have opted for different approaches, with short explanations given.

Frame 1, scene 1. The convoy moves out. Aerial shot. Helicopter enters frame.

Frame 2, scene 2. Top-shot. Convoy progresses down the darkened avenue of Gotham.

Frame 3, scene 2-cont. Camera drifts ahead of the convoy; flaming obstruction revealed.

Frame 4, scene 3. Medium shot, profile. The front two cops of the convoy notice.

Frame 5, scene 3-cont. Interior shot, POV of the obstacle; a fire truck ablaze.

Frame 6, scene 4. Low angle; the convoy pulls past the camera to the right; first SWAT van comes into view.

Frame 7, scene 5. Medium shot, profile; SWAT cops watch apprehensively.

Frame 8, scene 6, Top-shot; convoy diverts around the obstruction.

Frame 9, scene 7; POV interior; convoy continues to divert the blazing fire truck.

Frame 10, scene 7- cont. Camera tracks to the right, locked on the fire truck.

Frame 11, scene 8. High-angle; the convoy drops down onto 'lower fifth' on the left side of frame.

Frame 12, scene 9. Medium CU; Front Cop driver spots something in his rear-view.

Frame 13, scene 10. Medium-wide; from top left a truck speeds alongside the cruiser.

Frame 14, scene 10-cont. Camera drifts to the left; truck slams into the side of the cruiser.

Frame 15, scene 11. Top-shot. Cruiser swings out to the left from the impact, the truck hurtles on.

Frame 16, scene 12. Wide. Top right: cruiser in the background skids out of view, colliding with the pillars; Center: Truck speeds up against the second cruiser in the foreground.

Frame 17, scene 12-cont. Camera drifts to the left; front cruiser swerves as the truck rams the boot.

Frame 18, scene 13. Top-shot. Cruiser swings round to the left, bottom of frame; truck hurtles on.

Frame 19, scene 14. Medium-wide, interior. Dent and SWAT member look nervously to the BACK of the SUV.

Frame 20, scene 15. Truck hurtles towards camera.

Frame 21, scene 16. Truck rams into the back of the SUV.

Frame 22, scene 17. Medium CU, interior. Dent reacts to the jolt, looking to the RIGHT.

Frame 23, scene 18. Same angle, meduim CU. SWAT member looks to his driver, ''Get a move on!''

Frame 24, scene 19. High-angle; the remainder of the front convoy hurtles beneath camera, pursuing truck in tow.
Frame 25, scene 20. Medium-wide. SUV driver calls to his SWAT team, ''Buckle up guys.''

Frame 26, scene 21. SUV hurtles past from left to right.

Frame 27, scene 22 (iteration 1). Reverse cut; Larger truck enters frame from left for a collision with the SUV, entering right side.

Frame 27, scene 22 (iteration 2). Large truck enters from center for collision; SUV enters frame from right.

Frame 28, scene 22-cont. Reverse shot. They collide; SUV is smashed off-course.
Frame 28, scene 22-cont (iteration 3). Medium-CU. Tighter show of the impact.

Frame 28, scene 22-cont (iteration 4). Medium-wide. Truck collides with the back end of the SUV, swinging it out left-side of frame.
Frame 29, scene 22-cont. Top-shot. Large truck cuts through the trajectory of the convoy; collided SUV swings out to the right.

Frame 30, scene 23. (same angle as frame 25). Reaction shot.

Frame 31, scene 24 (iteration 1). Medium-wide. SUV smashes through the underpass barrier into the river.

Frame 31, scene 24 (iteration 2). Extreme wide.

Frame 32, scene 25. Interior, POV/Over-the-shoulder. Rear SUV drivers observe the Large truck swinging in-front of them.

Frame 33, scene 26. Top-shot. SUV repositions to the right-side of the Large truck.

Frame 34, scene 27. Medium CU, interior. Dent waits apprehensively.

Frame 35, scene 27 cont. Reverse shot. SWAT cop remains inscrutable.

Frame 36, scene 28. Wide. Large truck and SUV are positioned alongside each other; visual gag is revealed: LAUGHTER is the slogan on the side, with a crudely spray-painted S at the start.

Frame 37, scene 28-cont. Jump Cut. Large truck door slides open; the Joker and his thugs are finally revealed.

Frame 38, scene 28-cont. Joker fires a few rounds, aimed off-frame to the right.

Frame 39, scene 29. Reverse angle. Bullets riddle the armoured SUV.

Frame 40, scene 30. Medium shot. SWAT member flinches as the bullets dent the inside of the van.

Frame 41, scene 30-cont. Medium-wide. Orientational shot; Dent sits RIGHT, SWAT member sits LEFT with bullet dents behind.

Frame 42, scene 31. Small truck rams into the back of the SUV.

Frame 43, scene 32-cont. Top-shot. Large truck and small truck hem in the lone SUV.

Frame 44, scene 33. Medium-wide. Joker prepares a bazooka.

Frame 45, scene 34. Low-angle. SUV swerves to the left sharply.

Frame 46, scene 34-cont. Top-shot. SUV swings into the far lane.

Frame 47, scene 35. CU. Joker aims with malicious glee.

Frame 48, scene 35-cont. Over-the-shoulder shot. Joker aims for the distant SUV.

Frame 49, scene 35-cont. An engine growls into life; Joker is distracted, looking off-frame to the right at the source.

Frame 50, scene 36. Reverse shot. Medium CU. SUV drivers look left off-frame at the source, ''Look out!''

Frame 51, scene 37. Extreme wide, high-angle. The Tumbler roars towards the camera.

Frame 52, scene 38. Interior, medium CU. The Batman steers the tumbler.

Frame 53, scene 39. CU. Front shot of the fore-wheel spinning; engine growls as momentum is built up.

Frame 54, scene 40. Joker smiles at the challenge.

Frame 55, scene 41. Medium CU, profile, interior. The Batman remains focused.

Frame 56. scene 43. Tighter shot of frame 54. Joker goads.

Frame 57, scene 44. Low-angle, CU. Rear shot of the Tumbler as flames propel it; large truck dominates left-side of frame, showing the collision course.

Frame 58, scene 45. High-angle. Tumbler hurtles beneath rising camera out of shot.

Frame 59, scene 46. Wide. Tumbler hurtles past the Large Truck.

Frame 60, scene 46-cont. Jump cut (or insert). Joker tracks the Tumbler's trajectory, looking left off-frame.

Frame 61, scene 47. Wide. Tumbler collides with the Small Truck, flipping it above into the underpass ceiling.

Frame 62, scene 48. Top-shot. Tumbler turns around, skidding to the right.

Frame 63, scene 48-cont. Medium CU. Rear shot of the Tumbler swinging center; flames burst into life propelling it forward.

Frame 64, scene 48-cont. Tumbler zooms away from camera.

Frame 65, scene 49. Medium wide. Small truck is left demolished and jack-knifed.