How to STORYBOARD for Live Action & Commercial | Mr Mo | Skillshare

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How to STORYBOARD for Live Action & Commercial

teacher avatar Mr Mo, c r e a t o r

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

17 Lessons (1h 20m)

    • 2. WHO IS MR. MO?
















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About This Class

Hey, my name Mo, and I'm a veteran Storyboard Artist and content creator with +12 years of experience in the Entertainment Industry in Hollywood. My passion is in sharing everything I've learned in the field, so you can become a Professional Storyboard Artist as fast as possible. 

Enjoy this intro course in Skillshare, and check out the full course at where I go much in depth from my storyboard creation process, to how to break into the entertainment business and become a Professional Storyboard Artist. 

(Use my Exclusive 20%OFF Discount for Skillshare at checkout: SKILLSHARE20)

I'll see you in class!




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Mr Mo

c r e a t o r



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1. STORYBOARD COURSE TRAILER : Hey, guys, My name is Mr Bo, and I'm a storyboard artist. Here in the Senate is these are some of my words waiting in the entertainment industry for about 14 years now. And I'm finally putting together applies that ditches not just how to have a nice looking composition and nice camera angles, but also, I'm going to be super transparent with you guys and show with you everything. - This is the type of education that will lead into the information You're willing to put the time and effort and dedication behind it. Check out the leave me alone and I see you in my class. 2. WHO IS MR. MO?: As you know, right now, my name is Bob, and I've been doing freelance story boarding for over 12 years. Now I have the honor to work with some amazing Thailand on some amazing projects, and some of the projects include call of duty as essence. Create Adidas, Nike. You have C clash of clans for Dodge Toyota and on the get warm or some so like herself, McDonald's tackle Bill and and so in. So I mean, you get the point. A limited, a secret, my real name. It's no now before you step this video and you think I'm a fraud, let me explain. I was born in Korea, North Korea, South Korea, under the name of Young John More. And when I was six, my parents decided to move to Argentina to really give us a better future. Now, when we erect Argentina and I went to school for the first time, the teacher asked me for my name and I said, My name is Young John and she said, Yeah, what? I said, Yeah, now she was a sweetheart, but she really couldn't pronounce my name. So, she said, by the power of the Teacher Association your name Movie Lewis. From now on and forever. And just like that, I get a moose and out of my amigos and Amigas. They all started to come loose ever since. And then when I was 15 my parents decided to move to United States to give us a better creature. When I went to high school here in Los Angeles, I remember my teacher asking me for my name and I said, My name is Louis and she said, Your Amy's your name is Louise and obviously everybody back in this Louis And then she said , No, you don't look like movies. You look like Brian. And just like that, my name turned from Louise to Brian here in United States. So imagine when I was hanging out with my Korean friends. They will call me Young. When I was hanging out with my Hispanic friends, they won't coming, Lewis. And when I was hanging out very conference, they were coming. Coming, Brian. Now, when I was hanging out with my Korean Hispanic American friends all together, it was a total mess. They would call me Brian, Lose more Peter James. John. I mean, I didn't know who I waas. So one day I said, That's enough. I'm going to sit on my name once and for all by calling myself just most. I figure it's easy to pronounce, and it's super easy to remember now. The reason I'm calling myself Mr Mo is because the were more the way it sounds. He actually sounds almost like what in Korean. So imagine if a Korean guy would ask him for my name and I will reply back, saying, Well, he would actually think that. I'm saying what? Let me explain. It would go something like this. Either me and we'll jump. No, I didn't even me one never eating me. I need anyone ever eat of me all you get the point class, Mr. Blow Sounds cooler. All right, Now is your turn. I know this is a story for class, but I want everyone in this classroom to get to know each other better. So in the next day, please tell us your name where you're from and anything interesting about you that you want to share. Well, we're good. Awesome forward to know you better. And you know, Joe. But by 3. STORYBOARD | TRUE PURPOSE: all right, here we go. Before we even dive into learning how to draw storyboards. I think it is essential for us to know what the story bore really is. So there are so many different type of definitions out there, and everybody seems to have their own philosophy on what story war really is. You know, some people say story bore is this. Some people say story worries that so one quick way to find the correct definition, obviously, is to go to Wikipedia or any online site that us may have now on Wikipedia. They have a really good definition. This is what they say. The story War is a graphic organizer in the form of illustrations or images displayed in sequins for the purpose off pre visualizing the motion picture, animation motion graphic or interactive media sequence. I personally think this is a really good definition, but then again, I'm a very simple man, and I like really simple definition that even a seven year old kid can understand. So to me, storyboards are nothing more. Then the story imports hence story boards. Therefore, the main objective off any storyboard is just to communicate on idea. Thus, it just like this really quick sketch that I'm drawing right now. You see this guy on a stage shouting or singing or communicating on idea to an audience? Well, that's the job of a storyboard artist. And yes, we can sit here all day long arguing what the perfect definition off story war really is. But I think it's much easier to ask the person who invented storyboards and tell us what it is. This person is none other than Walt Disney, the creator of Mickey Mouse. Let's check out this more video clip and let's have Walt Disney himself tell us where. Storyboard release. Well, Disney developed the use of storyboards way back in the 19 twenties for his classic Mickey Mouse cartoon. Steamboat Willie. Great story board artist isn't necessarily Michelangelo isn't necessarily a fabulous animator. What a great story board artist is is a great communicator. Now, in our studio, we don't write our stories. We draw them to draw those story, in other words, to communicate the story in visual format, hands storyboards. So your job as a storyboard artist is always to communicate the story in visual former. It's not to create this amazing illustration or to create this fine our masterpiece that you're gonna put on different museums. That's not our job. Our job is to communicate the story to draw the story. Arial on the same page. Now on what story? Bore is great. Let's remember again what was said now in our studio. We don't write our stories way, draw them. We don't write our story, we draw them. And that's our job, all right, Ready to create some amazing looking storyboards? Not so fast. Before we begin, we must cover some really basic design and composition fundamentals so we can build our storyboard skills on top of them. This poor might be a little bit boring. Hey, but sometimes we must do what we don't want to do to do what we want to do. You get it. That's essential. No, let's dive in and learn some really basic design fundamentals. 4. WHAT IF IAM NOT GOOD AT DRAWING?: One of the most asked questions I get from people standing in both fans when it comes to learning about storyboarding is, what if I'm not good at drawing with learning storyboarding held me in my creative career. The answer is an absolute yes. But instead of me explaining everything again and again, let me show you a clip from a workshop I did with students are an art school that touches on this very topic. When I draw storyboards, people expect that every story war artists or every story world. And this is, I got a little nice to look. Impressive or at least good read. But I'm going to be very honest and tell you guys that many directors out there, they suck at drawing. They're not good at drawing at all. And regardless, if you see the film that it produced, the quality in the end of pacing of the story and everything. They're amazing. And that's because the drawing level required for you guys to storyboard your own project is very minimum, as long as you understand the language of storyboarding. And that's what we are going to learn about. Now, which is the language of story one, I won't be able to cover everything, but I'll give you guys a rough idea of what that is. On the next slide, I'm going to show you some of the storyboards done by directories. Okay? Then we surprise because they're not, then they're impressive. But here we go. This is no joke. This is really how they draw their story works. And these are not small projects by the way, these are big, big, big projects. Obviously the story war. The director, we will draw stony us and he or she will probably hire a storyboard artist. But you see what you see my point as a director, as someone who is building a project, you need to be able to communicate in speak does storyboard language in order for you to hire a trobaritz? Okay? So if you want to become a story walk in and make a living doing storyboards, obviously you have to be good. But if you just want to learn three words to communicate your project's, our blueprint. This level of R is portrait, is fine. And I think this movie was called nine. Something like that. And see the funny thing is, when you become professional and you really begin to do a lot of work in the field. You don't have time to watch this film that they come out. So that's, that's a downside little bit. Let me see. S isn't chair. Yeah. Is it a good film? I kind of wanted to watch down fall really good. Okay. Kelvin. Thank you. Yeah, That's pair other parasite, a Korean film. Superman does this. I think this was where is avenger products? Now? Yeah, yeah, superman. Now that Ventures something else. So this is the level of minutes. Let me check this one more chance. The pizza and see the beginning of the weekend. By the way, I know that this movie won a lot of words in the Oscar, but I haven't watched it yet. So busy you get sometimes when you're actually in the field. So what's a lot of movie way you can watch a lot of them. They will inspire you to the movies. Or second, crabby more exalted. Okay? So when you see this, you might see them as just random scribbles, rough sketches that they had no, no, no rules. But what I'm going to explain to you guys is that there is a rule to the madness is I say here is. Yeah, so these are natural random sketches. People, directors through this six figures, they knew what they were trying in there. We're actually using the language of storyboarding. With everything we have learned so far with all of these different languages, although they were just basics. What are the different languages that we had learned a rule after symmetry, lead lines, wide shot, medium shot, wide shot and all these different ones that we have learned. Now, when you look at this in, you'll see that there's rule to the madness. Although this word just stick figure. Was the director, the director choose this frame just because he received godlike it our lifetime there is a thinner. Now you will see that, yes, a purpose now. Use color symmetry rule, but also use the rule of lead lines to bring attention to the main character array. You see there's the, there's a rule now is not just random stick figures. Same thing with supermen storyboards, and the same thing with parasite or pairing parasite. This is another rule which you just divide it like this and then you bring focal points here. But yeah, we can go all day or just talking about composition, rose bud. But the point that I was trying to make, I believe the guide across, I really hope that from this morning for you guys are aware of every single sketch and aware of everything that you look at from this report. You'll see learning storyboarding will equip you with the knowledge to bring your team together and direct them to a common vision. Even if your drawing skills is that of a stick figures. And now that we've taken all the excuses out of the way and gain the confidence to learn more about storyboarding. Let's jump head on. Follow me. 5. DESIGN ELEMENTS & PRINCIPLES: way are designing something from, ah, simple logo to Ah, nice looking story bore to this. Hence on face, we're using something called design elements. And if you go to Wikipedia, you will find the definition saying something like the design elements are the basic units off any visual design which form its structure and convey visual messages. Now, this is a really good definition. But if you are anything like me, you are about to flip the table in front of you and just throw it up in the air just like the quick sketch that I'm drawing right now. You know, I'm a simple man, and I just like simple definition That gets to the point. That being said, let me show you. Ah, really simple video. That explains we got a chopper going over us. Is this l A. Happens every five minutes going back to the point. Let me show you this short video explaining design elements, you know, simple and easy way to understand. So what makes a brand iconic? It's more than a logo. Iconic brand step in the values, aspirations, desires, mythology. They foster an emotional connection that leads the loyalty and purchase Yeah, but how do you make a brand iconic with the fundamental elements of design? Let's start small with a simple point. What's the point together? Points make a line line has direction, weight, gesture, gesture, spirit, gestalt. Live lines then combined to make two dimensional objects that we call shapes or an outline or silhouette. The's shakes a regular and geometric. Others may be irregular and organic. When put together, shapes can define one another. You mean they contrast. Right? Contrast is a fundamental principle of design. Juxtaposition of dissimilar elements creates tension. Sounds easy enough. Well, it isn't just black and white. Thes colors are organized in a wheel that maps complimentary tones like warm and cool. Color is defined by Hugh how we normally referenced color by nights like yellow green saturation, dominance of hue and color and value otherwise known as lightness or darkness. Color is the first element that mind sees in the last two tickets. Yeah, but how do I pull this all together? Composition. His emphasis on a focal point against the background strengthened through scale with a radio symmetrical or asymmetrical composition is this is getting exhaustive. Then let's speed up the rhythm, which provides order and composition, repetition and variation in birds creates a patent on what if you need to get more specific , spell it out type. It's where the traditional Sarah or a modern sensor connected products points. And if that falls, flat form is the three dimensional partner of shape. Forms could be basic, complex and often merge together. On this surface, we find texture. Matt. Glossy rough, smooth. Kind of seems like a whole new world. Negative space creates a mold around the positive space of form. Okay, but should we use all these tools at once? No aim for Hominy and simplicity. Concert of separate elements Design is the careful balance of these principles. Al goal is to create clear, consistent emotional connections. And with a common visual vocabulary, we can make brands iconic. You've got it. What a great simple video right now because this is a story boarding class. We will focus mainly on using the design elements, off line shape, value in space. And I'm going to share what I mean by drawing our hero using his restroom. Now he feels a little ashamed because we caught him in the middle off action and obviously he's gonna close the door in front of us. But, hey, I'm the creator, so I'm gonna open the door wide open, and I show you what I mean. Come on, buddy. Open the door. Now open it. There we go. So, as you can see right here, we're using lines. We're using shapes. We're using different values from light to dark. And we're also using space both negative and positive space. But don't let all these different is an elements distract you from your one main task, which is yes, to communicate a story. Now that we learned about design elements, let's jump into design principles is I am principles are the way we use the design elements to create nice looking story. Worst on Wikipedia There's this huge list of design principles, and at the end of the module, I give you guys a hand out with the links so you can check them out on your own time. But to me, since I like to keep everything really simple what I'm creating storyboards. I'm any focus on one design principle, which is the principal of contrast. For example, let me show you this nice looking story war I've created. Can you see anything? Of course not. Everything is just white, and this is because there's no contrast between the lines in the background. You forward to drop the opacity here. So by having contrast, off line and background were able to create a design. And you also see contrast between shapes. You see this big guy here and then two small guys over here. So by adding contrast both size, we're able to show that our main focal point is our big dude here. Or, let's say, on drawing a frame of warriors. But if they all look the same and there is no contrast between them, how can you tell which one is our hero? You can't. Therefore, we need to use the design principle off contrast to differentiate our hero from the other warriors. So the principle of contrast is key. When we are creating story wars, hands communicating our story 6. COMPOSITION FUNDAMENTALS: Let's talk about composition in story. Worse, at the end of this module, you beginning on hand out with the links so you can check out the correct dictionary definition. But to me, composition really just means to place together elements to tell our story. There are many rules of composition, and some of the most basic ones are the rule of their symmetry foreground middle ground background, framing, leading lines and rule of space. But instead of me explaining to you all these different rows, I think it's much more productive to watch a movie trailer and spot this composition rules in action. With that said, let's watch this movie trailer together. I thought you might be able to help me with the case. Any idea where I could find your police taking me? I would much prefer that the alternative it was built off the back of slaves. Republicans are the future, but I can only make so many look here. I think I found him. That's not possible. I think it's out. We've bought ourselves a war, your job. Once things were simpler than what do you want? I want to ask you some questions. What happened I covered my tracks. Scramble the records way were being hunted. They know you're here. You do not know what pain is. You will learn. Bring it. This breaks the world. Way to go. I'm coming with you. The future of the species, his finally on earth you now I did a little bit off screen graph to show you the composition rules in action. Let's start with the rule. Third, basically, you divide the frame using lines into nine rectangles and the intersection off this lines creates four focal points. And this focal points are used to place your point of interest. We have our hero here right in this focal point on this lines too. Same thing here we have the rule author and we see our hero placed right here on this focal points. Let's talk about symmetry, this frame It's a great example of symmetry in action. I know. I just told you, you have to please your point of interest on this focal points. But when you use the rule of symmetry, you can place your focal point in the middle to if you wanted to and have one sigh off the design element being duplicated on the other side, creating a perfect symmetry. You can also see the ruler leading lines in action. On this frame, the rule of leading lines is to draw the viewers into your point of interest. So, for example, if you see here, you can see all these lines pointing into your focal point. On this frame, you can see the rule of foreground, middle ground and background in action. This is used to create the illusion off that in the frame, so does foreground. And then we got the car middle ground, and then, obviously, yeah, background. What a great composition. Now on this one, I love this frame because it is obviously breaking some of the rules. But once you know the rules, you can break them as long as they enhanced the story. So, for example, on this one, you can see that this guy here, it's not following the rule after, but doesn't matter. Because maybe the director purposely wanted to have our hero for Trey. As a person who doesn't follow the rules that much, this composition also uses the rule of framing. So you see this frame here and you see this frame here and with the rule of framing, you can isolate your subject in draw your veers to your focal point of interest. This one is a great example. Off rule of space Ford lead space. The rule of space relates to the direction the subject is facing or moving tours. It gives the illusion off movement or anticipation. So, for example, we have our girl here looking this way, and it creates the illusion off movement or anticipation. Same thing with our hero looking back to her. This is another good example off the rule of space because you see your our hero here. But you have this empty space in this area, and this gives us the illusion off movement and anticipation. Okay, my friend. Now you know all the rules of design and composition. I know it's gonna take some time for you to digest all this information, but once you put it into practice and you begin to draw the storyboards, you will become second nature. You won't be thinking about the rules anymore. He will flow through you naturally. But never forget that your main role. That's the story for artist. It's always to communicate a story. The story is more important than all the rules we just learned. Which means if he serves the story, you should be bold to break the rose any time story. My friend is king. 7. TIPS & TRICKS | THUMBNAILS & SKETCHES: Hey, guys, welcome to my tips and tricks Corner. As an artist yourself, I'm sure that whenever you're creating artworks, you start off by drawing a quick sketch. Then, if you like the sketch, you'll normally clean it up and finalize the artwork. Well, the same thing applies to storyboards, but with story wars, there is a stage prior to sketching called Tom Daley. Thumbnails are very rough sketches and usually very small, too. That shows the overall composition and, more importantly, he shows the flow off the story. It is a great way to brainstorm your ideas and see the big picture. They're very effective because it only takes you a couple seconds to create one, and you can visualize the overall story in one single look. I tend to do dumb knows in any paper with any pan or any pencil on any color. It doesn't matter. You can give me Ah napkin, and I'll draw some there there. But these days, with technology advancing more and more, I normally do my toenails on my iPod using my apple pencil. There are many abs out there that you can use to draw thumbnails, but I like to use an app called good notes. And the reason is because you can have multiple papers to organize, and it really feels like you're holding or sketchbook now. Thumbnails are usually done only for you. You don't want to show your dumb nails to your clients because number one chances are they won't understand your drawings. And number two is because they might judge your art skills based on your thumbnails, and you don't want that to happen. So whenever you do storyboards, start with thumbnails. Keep it to yourself, and do not show them to your clients unless they really wanted to see them. Sketches are done based on your dumb nails. They're done to show the client what you have in mind. Ideally, you want to make all the revisions the client needs at this stage because if they want to do revisions on the final story words, it would take you that much more time. The sketches I've done for this class have shading in visual effects in them because I wanted to impress you. But normally I never do shading or add visual effects into any of my sketches because it's a waste of time at the end of the day. You would clean those sketches anyways. Oh, Skitch should not take you more than five minutes per frame. You want to be fast and good when doing story words? If story is king for storyboards and speed is queen, my friend. 8. SPEED IS QUEEN: 9. BASIC CAMERA SHOTS: let's start with cameras to draw storyboards effectively. It is essential we learn about the full range of camera shots, camera angles and camera lenses to communicate our story. By the way, sometimes you see me using photo references when I'm drawing the sketches. This is a technique I used to save time and energy and also be faster when im sketching now going back to the subject Because whenever you're drawing story words, you are technically drawing what the camera sees. You become the camera and the camera is the eyes off the audience. You're showing the audience what you want them to see so they can understand and care for the story. Let's begin with some basic camera shots to start. We have a shot called a wide shot. Why shot are also called master shot or even establishing shot or sometimes long shut. This type of shot is mostly used when you want to establish the scene by showing the relationship between the characters and their surrounding. This is a great shot to show a landscape or a seed escape and introduced a setting to the audience. For example, in this wide shot, we have our hero but also the setting the state escape itself being introduced at the same time. Then we have four shots. Normally, it frames a person from head to tell just like you see being sketched in this frame. Full shot is mostly used when you want to establish your character or when you want to follow one around, just like where you're following our hero. In this frame, we can see our hero wandering around the city. But because this is a full shot, you can see that the main focus off this shot is not the city what our hero. Then we have the famous cowboy shut cowboys shot come from the old cowboy movies we used to watch when we were little kids. In those movies, the holster and the gun needed to be seen along with the actor's face. So in a cowboy shot, you will usually frame the character from head to knee. And again, you seem a using photo references to sketch this cowboy. This is not because I don't know how to draw cowboy, but because I want to draw faster. And sometimes using photo references can speed up a sketch in process. I'm also using a shot called Over the Shoulder Shot Here. This is a very popular shot where we filmed the subject from literally over the shoulder, off the other, building the connection between these two characters. Then we have the medium shut medium shot shows a character from the waist up. This is to show a closer view off the character or the type of action that they're doing. Close up shows a character from just above the shoulders. This shot is more intimate, and it's normally used to show a character's expression or reactions. Just like you see in this frame were able to see the face off our evil cowboy ready to attack our hero, extreme close up shows her character in extreme detail. This shot is used to show even more drama or attention in characters faces Keep in mind. All the camera shots mentioned above can be used for characters, but also for objects. For example, you can have a closer off a book or a white shot of a car. Next is to shut. Two. Shot is when two characters are together in the same frame. It is mostly used when the characters are talking to each other. But obviously in our case, we have been fighting with each other. This is called Point of View Shot or P O. V. Shot. This is the angle that shows what the character is looking at, and it's a great way to feel like you're inside the character. So in this case, it almost feels as if this evil cowboy is pointing the gun at us. Here I am deviating from the lecture a little bit and draw this frame to introduce our mentor, the story War Master. He's here to save our hero from this evil cowboy called Life. It is flying kick, you evil cowboy coming back to the subject. This is called on up shut. Sometimes it is called a hero shut because this is a shot that it's used by a lot of superheroes. On this shot, the camera is placed looking up at the subject, which gives us the impression that the subject is in some way more powerful in heroic and larger and stronger than us. Then we have the total opposite shot. This shot is called down shot. It is a shot taking, looking down at the subject, making the subject look weak and powerless or even weak and small and cute. Just like when we are looking down at a puppy or a baby. All right, you made it. That is all I have for the type of basic camera shots. Now let's move into the next module and lets make our basic fundamentals even stronger. 10. BASIC CAMERA LENSES: his time would talk about camera lenses. Now, mainly, you have Weiland's and telephoto lens violence. Eco's you can see more off the background, but at the same time the wider the lens, the more distortion you get. So if a lens is super wide, you get that fisheye effect. This type of lenses are normally used to show the setting off the story. White lands also has dipped if it feel which basically means less blurry background. So everything looks sharp and in focus. On the other hand, with telephoto lens, you get less background, but you get more off your subject. This type of lens is normally used for characters because they do not distort the image and also has a shallow depth of field, which means you can get blurrier background if you wanted to. But of course, the selection off lenses is not absolute. You can use the telephoto lens for landscapes or white lands for characters. If you think that is necessary for the story, it's really your choice in your call. And if you wanted to, you can also shoot the entire film using one single lens, just like the movie cause more police. I hope I'm pronouncing it right, which will shut using Onley, a white 21 millimeter lens 11. BASIC CAMERA MOVES: Let's talk about some basic camera moves now because storyboards are still illustrations. Story words use arrows to convey the movement of camera and also objects. There are no rules on how to use the arrows. The only rule is that it needs to be clear and communicate your story an idea in the movement off the camera and objects. Let's start with the camera. Moved, called Zoom Zoom is when you move closer to the subject by using the zoom function off your lens. While your camera stays in one place, you can either zoom in or zoom out. Then we have a camera move called pen with pen. No camera had rotates, left or right while being stationary in one place, you can use pen to either pen right or pen left. Tilt is similar to pen, but now the camera had moves upwards and downwards. You can use tilt to either tilt up or till down. Dolly is similar to zoom, but with Dolly, the entire camera is mounted on a track and it's moved towards or away from a subject you can either Dolly in or Dolly out Truck is similar to Dolly, but we truck you move sideways, you can either truck left or truck, right. And lastly, we have Boom. This camera moved is similar to Dolly, but in this case, your entire camera moves upwards or downwards. You can either boom up or boom down, depending on your needs. Also, if you want to communicate that the camera move is happening at a faster speed, you can add the word weep in front of the camera move, for example. Instead of saying Pan, you will say with pen. And instead of saying Zoom, you will say we assume All right, let's talk about the 1 80 rule When using the camera in any given sin, you should always keep in mind off the 1 80 rule. This rule dictates that you should keep the camera on the same side off the actors to maintain the viewers orientation, which means your camera should never cross the strait. Great line that we see in this sketch. If you break the 1 80 rule, you can look as if the characters are not facing the right direction. Let me show you what I mean if we have two over the shoulder shots, but one shut breaks the one any row. The two characters, well, not longer, look as if they're facing each other, but they will look as if they're facing the same direction, and this will confuse the audience 100%. 12. BASIC PERSPECTIVE: Okay, guys, we got one final, basic fundamental we must cover before we start creating story works. This fundamental is called perspective. I really wanted to avoid this topic, because perspective, it's such a complex and deep subject that we can spend a whole masterclass on perspective alone. But at the same time, perspective is such a fundamental skill you need to know in order to create storyboards. So let me explain, as simple as I can, the basic fundamentals on perspective. All right. First, we have something called Horizon Line. This is where your eye level is, or this is where the camera is standing. Usually, the horizon line follows the rule of third, and it will sit along the top line or the bottom line. Here I'm sketching a quick landscape with the horizon line on the bottom line in this landscape has a horizon line on the top. For some reason, our eyes like to see the horizon line, either at the top or at the bottom are not in the middle. Then we have the most basic one point perspective. This point is located, usually under horizon line. Think of this point as a black hole and everything you draw is pointing to this vanishing point. Here we have a two point perspective. In this case, you have to banishing points. So you have two black holes and everything you draw is pointing to the Spanish and points. And lastly, we have the complex three point perspective In here we have three vanishing points, and everything you draw is being pulled into three different vanishing points. In theory, this is great and simple, but in real life, each object actually has his own vanishing points. Unless you're an architect in our designing or perfect building, for example, let me show you my desk right now. As you can see, I don't even have a horizon line in frame. Plus, every object have their own vanishing points. You see what I mean? So with perspective, I never aim for perfection using rulers and grades and all that to me. As long as it looks good, believable and communicates the story, I'm happy. Therefore, when I'm drawing perspective, I tend to keep in mind just these two rules. Rule number one is 80% of the time. When I'm placing the horizon line, I follow the rule of terror in place, my horizon line following either the line at the top or the line at the bottom. Rule Number two is that after I draw the horizon line, I used that line as the hanging line. When placing subjects, let me show you what I mean by introducing you. This star figure. If your character is standing here and his eyes are on the horizon line, the horizon line becomes the hanging line, and he becomes the guide to place all other characters. As long as they are a speak as he is, we'll have their eyes hanging on this line, too, and thats why this line is called the hanging line. Same thing happens if I draw our character here and the horizon line happens to cross his waist and all of the other characters place in the frame. We'll have the horizon line passing through their waste as long as they're about the same size. All right, guys. Now let's move on to the next module 13. THE FORCE IS WITHIN YOU: Now that you know about the sign elements, design principles, composition, rose, camera shots, camera moves, camera lenses and even perspective, all these can feel overwhelming. And maybe your head is just about to explode. But what if I told you you already know all these rules? In fact, what if I told you that you are born with this rules? Pretty installed in your brain, remember? What? Because of set? He said every child is born artist. The problem is to remain one once we grow up. What if I told you that was true? For example, let me show you these two paintings. Which one do you think is a better one? This one, of course. That's why people pay millions of dollars for this painting. And yet most people never took a painting, class or or color theory class for ah, composition class. But they know a good painting when they see one. Why? Because we are born on Oreste. The same thing applies when you read a book with a great story, or when you see a great photograph or even when you see a beautiful sunset. You already know the difference between good art and bad art. You might not know how to communicate why you know them. And that's exactly why we're learning all these rules and definitions, because thes rules are the language you need in order to communicate and re create what you want on demand. All right. No, I get it. But what about camera shots and angles? You may say, Well, I'm telling you, you already know about cameras as well, because you've been filming every single day of your life, using two off the most advanced cameras in the world. That's right, your own to ice. Let me explain. Right now, as you're watching this video, you're probably filming on a medium shot with your eyes. But if I write something very small on the screen, you either zoom in or dolly in and probably use a close up shot to see what I'm writing. Or when you travel to a new CD, you use a wide shot, and you might even pin left and right to take in all the beauty off the new city. Or when you meet someone new, you use a full shot and most likely talk using a medium shot or a close up do you get my point? You've been always using this camera, rose. And the design rules every day of your life. So don't let all this new definitions overwhelm you. I'm teaching you what you already know so you can create what you want on demand. The force is within you, my friend. 14. TIPS & TRICKS | CAMERA SHOT PRACTICE: with all this different type of camera shots and technical languages would learn things might feel a little bit confusing. So I'm going to share a very simple rule of town that I use when selecting the camera shots . Two story work. Oh, and by the way, this is my friend named Oscar. Say hi O scar. Oy. All right. Here is my rule of dung. The closer you move to your subject, the more intimate you feel to your subject and the further away you get from your subject, the less intimate you feel to your subject. Also, when your subject is facing directly into the camera, the more connected you feel to your subject and ask your subject turns away from the camera , the less connected you feel to your subject and the feeling part. It's a key role when creating a story, because the story needs to connect with the audience at an emotional level and make the audience really care for each character. And if there's no feeling involved than to me, that's not a story. Now, to really make everything we've learned yours, you have to go out and start filming yourself and get your hands dirty. You can start filming using your smartphones. And when you do film, make sure you have a lot of different camera shots and used the techniques that we learned in this module. And when it comes to editing, I highly recommend on apco Quick made by Go pro This app pretty much dust all the editing for you automatically, so you save a ton of time. Plus, it would let you focus more on filming rather than editing. This is a very sure film I made, and I don't even know if I want to call it a film. I just saw my kids running around when it was raining playing outside, so I took my cell phone out and I filmed them. That's pretty much it. After that, I added, All the footage is and I lead Quick, do the editing for me. This film took me less than one minute to get it, and with this, I challenge you to go out there and start filming starting today 15. TIPS & TRICKS | NO MANGA STYLE: assignation myself. I grew up watching manga as an enemy, and since I was a little kid, all of my sketchbooks were filled with my favorite manga characters. And I see a lot of students in this class that are from Asia as well. And I'm sure manga in any May had a great influence in your AR style, too. This is okay if you want to become a manga artist, But if you want to become a story War artists for commercial in films it is not a good idea . So you must learn to draw in a more realistic style in order to become a storyboard Oreste . So what I did to overcome this obstacle was to find photo a real faces and just trace over them. I also used to trace over American comic books because they're comic book style. It's much more realistic than Munger, and this is something you can do as well. Start by tracing, copying, and then when you feel comfortable drawing in the style, you can still that and create your own unique style. So no big guys, manga style and no big boobs, any my style for storyboards. Also attending a life drawing class or a figure drawing class near you will help you draw in a realistic way. Figure drawings are also great because you learn about human anatomy, and this will help you draw humans in any post. You can use your search engine or meet up to find local life throwing and figure drawing classes. Some of these classes have naked models, so at first you might feel a little uncomfortable looking at a naked person. But we practice. You get used to it. So again, I highly recommend you guys to take a figure drawing or a life drawing class near. You wanted to draw humans in any post. It's simplifying your character into a manic ing. You don't worry about their clothes or their facial expression, just romantic ing. And after you have your manic ing in the Post E one, you can start the cleanup process and at the details needed here on this mojo. We didn't get a chance to see much of our hero, but don't worry, he'll be back on the next mojo to share his journey with us. So hanging there 16. STORYBOARD ARTISTS' TRUE INCOME?: Let's talk about money. So how much money can you really make as a professional storyboard artist? According to Glassdoor dot com, the average salary of historical artist is $113,831. It's not bad, but it means you have to work Monday through Friday, eight hours a day. Some people are happy working these hours and feel secure. But to me personally, I value my free time a lot. So I've always Bean, a freelance storyboard artist, because that's a freely and storyboard artist. You have much more control over your time, and you can do whatever you want whenever you feel like it. To me, that's really freedom, and that's living. So then how much can you make as a free linds storyboard ist It really depends on your experience and where you live. But if you join on agency here in the United States and you build a little bit off experience, you can expect anywhere from 600 to 800 per day. And if you go to frameworks L, a website, he says, 600 to 700. Trust me, this is outdated. You can go up to 800 per day and sometimes even more. Now let's say you're rate is 700 per day. After the agency takes 20% you're left with $560 and let's pretend you're living. Cost is 5000 per month, which means you can work 10 days a month, make $5600 you still have 23 days in that month to do whatever you want. But the life of a frill and storyboard artist is very unpredictable. You don't want to party too hard and spend all your money because some month can turn into fist. But some other months can turn into famine, so you must be smart with your money and always think like an entrepreneur by investing your money wisely in creating multiple source of income. Maybe you can use your free time to create a comic book and publish it, or create original artworks and sell them online or do joint ventures with other brands. An artist to launch a clothing line, you can do whatever you want. You're only limitation. It's just your imagination. So once you joined an agency and are making good money, do not settle, always think bigger and create multiple source of income. You can thank me later. You 17. REAL TIME ROUGH SKETCH SAMPLE: - but