Learn Storyboarding for Film and Animation

1. Promo: Hi, my name is Maria of RAM awhile and I'm a filmmaker and an artist, and I'm here to teach you storyboarding. Now, why do you need to know storyboarding? If you want to get into the film industry, becoming a storyboard artist, among the most farm professionals to do because you get to be a part of the story. Knowing storyboarding is even more important if you're doing your own short film. Storyboarding is a predecessor of your whole film. Using simple images. With the storyboard, you can decide direction of your story. You can decide camera, angles, shots, and a lot more. This Is Your Story blueprint. And as a storyboard artist, you need to be a cinematographer and you need to know the roles of filmmaking. This is what I'm going to be teaching you here. So what are you going to learn here? You're going to learn how to work with a camera. What is a 180 degrees through? You're going to learn about framing, how to convey motions using camera angles and framing. And I'm going to give you tips and tricks about what perspective and how to train yourself to sketch fast. And then we're going to take the exercise of doing a storyboard from script to finish. I hope to see you inside the course. 2. Introduction: So what is storyboarding and why do we need it? Storyboards were widely implemented in the film industry and both animation and live action. With Walt Disney Studios. Animators discovered that it was cheaper and more productive and you got a better sense of the story when the storyboarded to film before the production started. Storyboard is exactly what it says. It is boarding the whole story. It is basically the blueprint for the story. The difference from the script as that the storyboarding shows us exactly how the film will look like on the screen. It takes care of problems as timing, camera angles, acting, and even gives us guidelines what kind of props or scenery are there going to be needing for the final film? The story border is the directors or right hand. The director can change the story depending on what he or she sees on the storyboard. The storyboard panels are then collected into an antiemetic. Basically, you add it all the boards into a film. Just with images. And they're, the director can make changes. He or she can change the course of the whole story. Because sometimes if you see something on paper, it sounds good in the script, but it may not work later on in the film. And this can be done in a very cheap way. Storyboarding teams are usually not a lot of people, is just a handful people that can GEO2Enrichr the film many times over before even the studio start production. That is what, for example, Pixar algae, after every draft of the script have story borders on site to draw the whole movie before they even start filming orders. They start the production, before they even green light up production. And sometimes the same movie can be bordered over and over again. That's why if you want to be a story boarder, congratulations. You will become a part of the story Tim. And story is a lot of fun. And you will make major decisions and decisions that our director needs to do. So that's why storyboarding is important. And they are rules of storyboarding. These are rules that osmotic refer needs to now, for example. So we are going to talk about those roles here. Rules are not set in stone. So take those rules as guidelines. Each story boarder has their own language and a piece of script can be storyboarded in many, many different ways. So here comes your sensibility of story, timing and character. How you're going to introduce a piece of scripts, a piece of story to the audience. And that are going to be your strength and working with directors and with good directors. So we're going to talk about some of the roles and I'm going to give you some hints of how you can work and how you can think. To become a good storyboard artist. Let's get you started. If anything, is in group two. 3. Framing: Framing. In this section, we're gonna talk about framing. As you are a director's right hand. You need to know this rules as a storyboard artist. Again, rules in storyboarding and in film are only guidelines of what has worked. You can break the rules if it serves the story. You also need to know what rules you break and why you do it. Now, Let's get started. Extreme wide shots or so-called establishing shot. In this shot, we found the location of where the action takes place. We can have the characters farther away in the distance, or we may exclude them at all. Wide shot. In this framing, we get closer to the characters and we see the characters full size. In this framing, we can recognize the character's body language. We can see their facial expression and get closer today motions. Medium long shot. We frame the characters even closer. And we make sure we don't frame the characters in, cut them on the joints like for example, their needs in this case. Just assuming is closest that the framing of the camera is a little bit above their joints, above their knees, and in the middle of their ties. This is kind of a dream of medium shot. The camera is framing the characters a little bit below their hips. Again, remember to place the framing above or below important joints of the body, like for example, the hips, in that case, medium close-up. Now the next three close ups are very similar to each other, although they want to compare different ideas. The closer we get to one character, the more we can identify with the character's emotions. This framing is also used in dialogue scenes where we can break the dynamic between using medium shot, medium close up, close up, and sometimes even medium long shot. Close up. Here we frame the characters face. Extreme close-up. Here, we frame the character's eyes. So what is the difference between the three close ups? You may ask, as we know that the eyes are the windows or salt or emotions. So the closer we get to the character's eyes, the better we are to read the character's emotions and therefore identify ourselves with the character. Of course, that doesn't mean that we have to keep the character in extreme close up all the time. So we identify with the characters, is just that in certain moments we need to know what the character is feeling. If the characteristic in certain decision, for example, if it's going through an emotional state, is good to show that struggle in extreme close-up. But we'll talk about that in the later sections. This framing is called bird's-eye view. The camera is looking down from high above as if from the eye of a bird. This framing is used to give us an overview of the surroundings. While a character is going the vastness of the tasks ahead. For example, if there is an Armageddon, if it's so disaster, like for example, a zombie attack. And we want to see that what is happening in our house is happening in the neighborhood and the next neighborhood and the whole town. Then we will go slowly from our house. I'm live camera up to the next neighborhood and we'll see the whole town that fires and distractions are happening all over the city. It will give us an overview of the vastness of the disaster. Another example document recognizes from horror films, like we have a group of teenagers, but 10 spend vacation in the words. And we start the film with an establishing shot with a bird's-eye view, where we show that the carbon is not near any city or any town. It's far in the woods, which makes us now that when something happens, father in the movie, there'll be no one around to help them. The bird's-eye view conveys feeling of powerlessness, loneliness, Being alone in a big world, for example. But it's not necessarily our cell. It can also have a grand positive impact like for example, crowd cheering after a victory. We use this shot to convey a very strong emotion on a grander scale. High angle shot. This one is very similar to a bird's-eye view, but the camera comes closer to the character. We use this framing to convey a sense of helplessness. The character is in disadvantage, for example, the character is losing her or her position in negotiation. We can have this shelf like looking down on the character, like the feel the characters pressure of losing a negotiation. We use it to convey a fear of being lost, feeling lost. It doesn't have to be that the character is necessarily lost, but it's not that the character feel lost with this shelf. They also convey the feeling of that task is bigger than the character's potential to overcome it. Low angle shot. In this shot, the camera is looking up at the character. The character looks big in screen. With this shot, we want to convey a feeling of power, decisiveness, being an advantage in negotiation or winning a position of power. This includes even personal power, feeling empowered or confident. Tilted, angled shot. In this shot, we tilt the camera. So we create a dynamic line of action. With this shot, we create a feeling of dynamic movement, danger, excitement, or disorientation. It gives a feeling of pace and axiom. This shot is very much used, for example, in car chases when there is a danger in the situation. So those are a couple of rules or guidelines that you can have in mind when you do your storyboarding. And they're only reason is to have a greater impact on your VR and tell a better story with a greater emotional impact. 4. 180degreesRule: 180 degrees of role. 180 degrees role applies to where the camera is standing according to the characters. When, for example, we have a dialogue. Let's see occurrence situation. If we have two characters talking or engaging with each other, there is an invisible line of action that is going exactly in the middle of the characters, hundreds, 90 degrees rule says that the camera can be on any site, on any point of this red line or on this one side of the line pointing at the character. And why is this important? Let's see a current situation. If one character is talking and we have the camera on the handwritten 80 degrees side of the line of action. As long as we follow the 100 to 90 degrees roll, we can zoom in and out of the character as much as we want. We can frame the character either as a close up, as a middle shelf or as a whole shot. Then it looks like one character is talking to another. But what happens if we crossed the 180 degree line? Then both of the characters will be on the same side of the screen and they'll be turned in the same direction. There will not be a dialogue between them, but it will look like they're talking towards something else, someone else which is not in the same. So 180 degrees overall is basically for orientation on the screen and for clarification of who is talking to whom and how the characters are positioned. Now, can we break the 190 degrees roll and how? Yes, of course we can do that. We don't need to have the camera standing on that position, on that size all the time for the film, that will be boring. There is some certain rules that can break the 190 degrees roll. One thing is to position the camera exactly on the line and have the character looking from the POV point of view. When we have the camera exactly on the line, the next time we shall the characters. We can have the camera being on the other side of the line. And now we have a new line of action on new 180 degrees line, which is on the other side of the character. So we can't jump back and forth between one and the other. We can go 360 degrees or gas or viewers very confused of what is happening on the screen. Another way to change the line of action or to change the position of the camera is if we have one of the characters are both moving. So if the character move, they basically changed the line of action and the a 100 and 90 degrees line between them. Now we can position the camera in a different place, but we still have to keep the 180 degrees of role of the camera. Another way to break the 180 degrees role is to have a pivoting of something. Something, for example, that the character is looking at. Let's take an example as the character is pointing at something further away in the distance on the other side of why the camera has been so far. Like for example, at the mountain, like the character is saying, Look, there is a drag on over there. That point. We are changing the position of the camera, breaking the dialogue between these two to see what he's pointing at. And then when we go back, we can see the character from the other side of the line and break the 180 degree rule. And now we have a new position of the camera from the other side. So now you're allowed again to change the position of the camera on the other side. Now, a 180 degrees roll apply also when the character is in motion. Let's say that the character is running in one direction. The next time we see the character, we need to have the character running from left to right again, so that we know that the character is running in same direction. So for example, if we have an action scene and the character is running through different backgrounds, for example, it's running in the field and she's running through the words. We need to see her running the same direction, in this case from left to right. What happens if we break the 100 to 90 degrees row here? Like for example, in this case. So if we have one scene where the character starts running from left to right, and in the next scene, we change the camera and we crossed a 180 degrees. She will be running from right to left instead. So she's basically switched direction without giving any reason that she's done that. And that will make our viewers very confused. Now how can we change the direction of the character? One thing to do is, for example, if the character stops and changes direction in the screw on the screen. So now we have our character incorrect here, who stops, looks at something and changes direction directly on same shot. Now, we can have the camera on the other side, because now she's running in a different direction. So we have justified the movement from right to left for this character. So this one can be a little complicated, but it is as simple as that. Just have this in mind when you draw your story posts. 5. 180degreesRule: Here I'm going to show you how we use the framing and different angles to convey an idea, to convey a strong story. In this sin, include confronts her father and wants him to take her to the battle with the dragon. So we start with the father sitting next to the fireplace and preparing his swot for battle. We have Kim sitting in one corner and we have the shading of the room framing him. Then we have the shadow of Ingrid coming in and covering him. And this conveys the idea of something troublesome looming over him. So this is so symbolic graphic language to show that there is going to be a problem coming for him, like a shadow from a clear sky. So his daughter, Ingrid's, comes in the screen and she stands tall in the screen. She's filling up the space of the screen. And her picture, he is small in the picture. She's coming with a strong message and I'm with a strong decision of what she wants to do and to convey this idea, we can see has four, almost in the middle of the screen. We use a low angle shot and frame the character Sadat's ingress is tantric towel next to her father. Her father is still sitting down and we arrange the scene in does matter that his daughter is in a more powerful position. So he's still sitting down and doing his preparation, the web, his watch. While Ingrid is standing tall, n is just about to tell him that what she's decided. We also tilt the camera in diagonal. This is also to enhance the sense of conflict between father and delta. Ingrid says that I'm coming with you. So in this same, Ingrid sells her father that she wants to join them to fight the dragon who threatens their village. And we framed the effector so that we can see the father's expression and how he dwells upon what to tell his daughter. He knows that she's very much like him, stubborn and brave. But again, of course, he doesn't want her to follow she now he knows that already. He just doesn't know how to tell her. And now we use a middle long shot to describe the meeting. A father and Delta is a meeting of two warriors. They are both alike, brave and stubborn. But here for the first time, we see Ingrid very small. This time, her father stands tall next to her because he's the authority. He is the one to tell her mother she's gonna follow or not. The father says, You are not coming in grid. And here the father stands next to his daughter. It's going to be his. Well, we showed that by having next to her, she must look up at him, which makes her look like a little girl for the first time we see that she is actually a little girl. And here in this picture, Ingrid's us, but that was begging eyes. And we have a shot over the shoulder, which is we are placing the camera where we also see a big part of the father. In fact, he is filling up most of the screen. It is a high angle shot, which we're looking down on a grid. So she feels in disadvantage, shifted small. She feels like she's losing the battle. And then the father, the father's dialogue here is, I'm sorry, Ingrid. It is too dangerous and you need to stay here and look after your mother for me. He's trying to give her a task so she doesn't feel useless because he knows that she's just like him. She wants to do girl, she wants to be a warrior. So Ingrid's father bends down to Ingrid's level. He admits that she is a warrior. And with this image, we want to convey a feeling that he doesn't want to hurt his daughter. He wants to protect her. He is her equal as well as a warrior. But she's also has storage systems to yarn. And here we use a low angle shot, medium long shot, where Ingrid is very small in the picture. Her father is big like a rock. He's taking over the screen. It's kills will now. And with this, we want to convey the idea of helplessness. Helplessness, Ingrid's helplessness because she is or main character. It's not the father has lost as fight. Her father is the one who decides. She feels small. And we can see that visually on the screen by framing the characters in this way. But then we keep the camera on the same end. But Ingrid pushes her father away and comes forward. The camera in pans with her. And we go from low angle shot on her father to a low angle shot on Ingrid. And we see that she's chaining confidence. She has grown visually on the screen by placing the characters this way, having the characters grow in the screen, you convey the idea that the character has Jane momentum. It has made a serious decision and has Jane pack their power. And here, when Ingrid takes this decision, will starts with medium shot. She's still very small in screen and she's turned with her back on us. That's where we start. And it's a low angle shot. And we see in grid, just press on one side of the screen if she feels still lost. But then she starts moving towards us, towards the camera and towards her father until she comes very close to the screen. Her body is in diagonal and is symbolizes conflict. And ingress says, and going, I'm not your little girls anymore. And the warrior you've taught me to be in, there is decisiveness in this dialogue and in misbehavior. So we need to show that with her. She holds her swot front, in front of the screen. She holds a tight and the sort is almost as big as corrupt body. There are diagonals of her spouse symbolizing dynamic and conflict. So she confronts her father and she's winning the fight. Keep this camera angle and have her live the screen with power and determination. It is her who was won the fight. We keep the diagonal on her pose. The conflict between father and daughter has grown. Now, Baker, father, Ingrid, he's trying to stop her daughter, but he knows it's pointless. And we use high angle shot to show the gap growing between father and daughter. The long shadow that Ingrid casts on her father is a symbolic elements of the worry that will hang over him. Carrying about his brave daughter and lingering on the shelf living the father alone in the little corner of the room. And on the screen show his helplessness in this situation. He knows he can't stop Ingrid. There's nothing he can do because his daughter is just like him. And we end this scene in a close up. Eventually with to want to see how the father feels about a situation. So we need to have a close up and feel his emotions. We don't even need dialogue to feel his pain and worry about his daughter. We showed us in camera angle and of course acting. He just looks away, very thoughtful. And Orissa, and we're done, we end this sin. So you see how in, with a very simple camera angles, you can convey the idea of which part is the winning one. And that's how you use different camera angles. 6. HowToSketch: To improve your drawing, you need to sketch people from life. Here is one example of how to go about when. If you want to know more about it, go to my course, how to sketch people from life. So now that I have chosen my model, how do I start and how do I go about 19 start drawing. The first thing I want to know is where my model is seated and how his spine behaves according to the hips and according to his shoulders. Even though I don't see where he's seated. I tried to imagine if I continue the legs where world his hips B. So I would just scan scattered randomly anode, just try to find the position for them. And I'll also go and try to find where his shoulders are. And from this position here, I see that he's slightly tilted in one side because he's leaning on one of his hands. So I will just notified that and then I'll try to figure out how the other parts of the body are located and how they are relaxed or tense and where they are. And this is something that I eyeball. Something that I do is also compare distances. The distance from the vase, for example, to the shoulder, the distance from the hand compared to the body, the distance from the need to the head. Also, I compare distances in from the environment, just defined anything to compare. And I never just draw one thing at a time. And after I've done that, I'll just roughly sketch the body parts in a very, very rough shapes, just with round shapes on top of the joints that I just measured. And I'll just find the overall poster. So I'll be just dressing up the skeleton as I showed you before, very roughly, just to find if that makes sense, If this line that I drew just make sense. If the proportions are really correct that I've drawn. And I will, I'll just adjust that afterwards. And then I'll have a drawing that is looking something like that. One I've done that. I will start on refine the drawing. So I'll just go with a thicker pencil and, or with another color pencil. And I'll just refine on top of this general shapes. Basically refine the man's body. And I will get something like that, which looks actually pretty neat and adult look like the character in here. You can see that I have the proportions, right? He's definitely seated, He's definitely leaning. So I have graphed the main proportions and the main balance of the body and the main character for this man. And even though he doesn't have a face, I have executed the exercise, right? Because I have learned from his posture and from this character how a guy like that will be leaning or sitting. And I have put out in my memory bank to gather one I needed later on for my own projects. So how would it look like if I didn't have the picture underneath the firewalls on the spot. And I'm just drawing these people from life. And this is the same way I was going to be thinking as I showed you on the picture. So basically this guy, I'm going to try to find where his spine is. So basically he is m where his hips are, where he's sitting. And I was going to basically try to find where the shoulders are and how the spine inside the body is bending where the balance is. So I will see that he's leaning on his arm. So I will quickly draw justice arm here. And I will find when he's leaning. And what I'm going, what I'm doing is basically comparing distances like the arm. Where is the arm compared to his belly? So I would like in my mind, draw an invisible line to find the spot where this elbow and the part of the body are kind of on the same line. So I would say. Approximately here does how I would measure distances between different parts of the body. So it's basically eyeballing things so far. And then I would say, well, he's sitting like around here, so his store so is here. He's linked in this direction and he's had is done leaning on his on his hand approximately here. And this other arm is where the knee is exactly what is needed. So I will try to find the knee here. And he's a he's on the upper part of his leg, but has a perspective change to first because the seeds are a little bit bent in this direction. So our try to find the shortening of the knees. And how do I do that? Again, I compare distances. I feel like Disney here, if I draw a line of whale would dot point here, cross another part of the body. And I see that, okay. It passes through this shoulder. It's slightly on the side of the shoulder. I'm doing all this by eyeballing it compared to this arm, where does the seating position ends? Well, it ends approximately here. So this is kind of the bending of the leg. And then our try to eyeball again to see how the feedback and I see that he's bending. He has turned a foot in this direction, so I'm just going to know that. And again, compare it to some other part of the body. And I will do that for the other leg. Saw his hips are here sitting down and spine is bent, and his legs are here. So I would draw a line between this leg and this leg to see approximately where, how long the distance is between the other leg. And I will measure data at the same time when the feet so how long is it from this point, from where his foot is two the next point? Well, it's approximately here. I would say just eyeball it. And I can do another measurements like the place where this foot is ending. If I draw an invisible line upwards, while without end, it will end approximately here around his belly. So I would say, Well maybe it's around here, which means that he's light is bent that much and just draw the food. I will see that the food is like sitting under the foot is placed on the ground in this direction. And this is approximately my sketch, the way I think of this character. And then I would just go ahead and add some details. One, I know the position of this body parts. I would just go and refined and refined the rest of the body. And now we'll just draw, okay, The food is here. And I'm doing that very roughly because you don't have a lot of time to think when you draw a human's outside because they change position. So you have to be able to really grasp the pose very, very quickly. And you don't need to really analyze so much. Just eyeball things to start with. And you will learn to really see how this changes go in perspective. One thing is to understand that. Another thing is to practice it and learn it through practice. So I'm just going to quickly, I bought up and the hand I my schematic as a cube or something. Because what I'm interested in this position is really how the body is and the posture. So I'm just going to do the shoulder adjust that. I see that his shoulders are a little band and he's looking at me adopt position. He has noticed that I'm filling him. So I'm just going to draw the eye line. I'm not going to draw all the face just to make sure the face and the head is in right proportions according to his body. And I'm going to draw his stomach. Now. I'm also going to add the other arm. I see again that this is his hand here. And his other arm is the point where his other arm is is approximately this point of his body. So I'm just going to add that and adjust even the under arm and see if this really corks correspond to the position of his body. And I'm going to tilt his pointy little bit in this direction and just add briefly the place where he's sitting just to make sure that he's sitting on the right place like that. And I'm just going to add his stomach because it is a very specific part of this guy's body. And it adds to his character and to his poker dot He's Lin for. So I'm just going to find according to the proportions of the body and what I see, how his stomach is leaned forward just really roughly. And now I already have the sketch. And from here, what I can do is basically just to refine some stuff. And I see if everything is correct, I can add some hat here. Now he's getting more of a character. I can add my be the shadow of his eyes like that. If I have time if I have EPA, he hasn't moved and I remember that. But some of the things if you notice the movement, some things you will remember and use that also in your drawing. Tried to memorize how the person was the post-doc. This person was n because she will definitely move and you will be very annoyed that you didn't grasp the pulse, but just pick up oppose that you memorize and try to add that to your face. Why? Using what you know about proportions. But it is way, what is the most important is basically to grasp the balance, the proportions, and the overall character of this guy. And later on you can maybe just put some shadows here on this leg just to add more to that perspective. You can add some accents somewhere with the pen where he's contacting the, some surfaces that add some more steadiness to the character. And here we have the sketch pretty much I have not used from the picture. I have just observed the guy. And that is my basically thinking process when I draw, when I draw these characters. Now, let me show you another drawing as an example and use another pencil and to see a different kind of approach. Drawing sketches. 7. OnePointPerspective: Hello there and welcome back. Now let's go into depth with the perspective of rows. And let's start with the cube. In this lecture, I'm going to use a basic ruler just to make things more cleans for you to understand among get too messy. You can use that or you can just draw very roughly as I did in the first lecture. The main point is for you to understand the principle behind the perspective and how this changes the way we see the object. And the main thing that q. Now let's draw the perspective line and assume that this horizontal line here. And let's assume that we have a cube. And I'm going to talk about now 1 perspective and two-point perspective. And what is the difference between them? Now let's assume that we have a point, a vanishing points. And vanishing point is the points where all the lines are disappearing in the distance. And you know, when you look at, for example, the railway city in the railway station, you can see a very clear example how the lines disappear in the distance. It's not because the railroad gets smaller, is just because the perspective is changing your perception of how they disappear and God gets smaller and smaller in the distance. This is basically the simplest way for me to explain it. So let's assume this is our vanishing point, where and the orange line disappear 1 and we don't see the cube anymore or the lines anymore. And let's assume we have one cube below and above the perspective line. Now, if we have perspective with one vanishing point, means, it means that all the sides of the cube will be perpendicular to or horizon. So it means it will have a cube. Let's assume it's one over here. And we are going to see this cube from from the front and that a vertical lines are perpendicular to the horizontal line. So we'll just have one over here. And we'll just drag one over here. And we'll make the ABL line over here. It's parallel to the horizontal line. So there is no difficulties in that. I'm just going to draw these lines and drag the line for the other tq. Because they are exactly the same. They are. There two sides are, but the lines are perpendicular or parallel to the horizontal line. Let's have one. On the horizon, m1. I'm not going to have its place. Let's have one above, above the line and above the horizontal line and one below. And I'm going to draw one here and I'm going to eyeball the cube over here. So these are the front science of these cubes. So how would we decide which sides of the cube we see? Well, one thing is that every corner of the cube, this one, and this one connects to the vanishing point here. Let's do that. Let's connect all those lines, even among those that are behind the cue, to the vanishing point on the queue. And this one here. And let's do that to deal with the other cube. You can be as precise as you want to be. You can draw that pretty quickly just, just by hand if you want to. But it's a kind of a relaxing exercise. At the same time, if you don't want to get too technical. This can be a little boring. I can totally understand that. But when you know that already, it will come naturally to you. It will get build-up in your system and you will not have to think too much about the lines and want to connect what not to connect, you just know it. So how do we decide where the cube ends? While it's basically, there is not the right way to measure it. Awhile. There could be, but I'm not going to get too technical. I'm just going to assume that the cube, the other side is ending over here. I'm just going to draw one line here and 11, one line here. So this line here that is intersecting the line on each side that is intersecting with the other parallel line of the backside of the queue describes the basically the what side of the cubic going to see in perspective. The same here. Now they're intersecting lines for the lower part of the queue, because now we have a cube that is above or perspective line or horizontal line. This will decide what line we're going to see over here. And now, if we want to see where the other lines are here, what we'll do is take each point of this corners of the cube. And what you do is you just draw a perpendicular line down, downwards. And here you do it with the other point like that. And same here for the upper tube. You just connect this point here up and you just draw another perpendicular line. And what you get here now is two new points where the lines of the cube crosses, which is this line, this point and this 0.1 does it gave us, it gave us the backside of the cube now and draw as if the cube is transparent. So I'm just gonna connect dot and here, where are those points? Obviously they're here. And here. Just has to be precise. So it doesn't have become twist it. So it's approximately over here. So from all this mess, I'm just going to make the lines very thick here so you can see exactly how we got the queue. Now, these are the front side of four cubed. This is the side we see. And this one is the side we see. And hear from the cube that is below or horizontal line. These are the sides and these are the backside of the cube as if the cube is transparent. In case we need to know exactly where the tube is standing, which we will do for later purposes. Also, to show you how to draw the shadows of this cube. So this is basically very simple way to explain 1 perspective and how you basically decide or perspective with this, this applies to the cube. The cube is lower down. It means that you will see more of this part is going to be more open. Or if the cube is more up and until it comes to the top, if you look straight up, you will see just the lower part of the cube or the cubist just below, straight down of where you're standing. Eoc just the upper part of the queue. So now I'm going to explain the two-point perspective in the next lecture. 8. TwoPointsPerspective: So now let's continue with from where we started with the cubes. And now let me talk about two points perspective. Let's assume that this cube is slightly turned, so we don't see the cubes from sight, but we see the cubes corner. So if we see only this corner and this corner will still be perpendicular to or a need to degrees of the horizontal line. Let's draw this one here. And now. If we have the same queue, if you say this is the corner of our Q, approximately over here. Now, how do we decide who are the other two sides of the cube are? And these come with 2 perspective, which means that these lines are not perpendicular. They are not parallel to the horizontal line anymore, but they're also changing in perspective. Let's say, how do we find that? We find a point here in the horizon? It depends how this cube is turned, what how we decide up is while we observe in real life through a live drawing and so on, did here, we'll do just an assumption. And we have another point that is going to be over here. Let's assume that is over there. So what it means to find the other sides of the cube, and what we see from the cube is basically connect the two sides of the cube of these corner to each these two vanishing points. So we'll have one here and we'll have the other vanishing point. Then. This is basically clear mathematics. And so far, it doesn't have a lot to do with creativity here. Because we are trying to copy a real life. We trying to create the illusion that what we see in real life is basically applied correctly on the paper, and it applies to certain rules depending on our vision. So how do we decide the two sides of the cube? Well, this is just an assumption. And again, if you have this cube in real life, you will see that you can measure dots with a line or aligning into other objects, which I'm going to show you later on. But let's assume that the other part on this side of the cube is over here. So just draw another perpendicular line, or 90 degrees from the horizon, the horizontal line. And do that similar on the other side. Let's assume it's over here. Now we have two other points which are crossing with the lines that connect to the vanishing points. And now we have two more points to connect. So connect this line to the vanishing point. Over here. As you see, the line is already connected to this vanishing points. We don't have to redo that, connect this line, this point, to the vanishing point. Let's do that. And I also connect this one to the vanishing point, the A-site. Again, it already connects. It is connected to this vanishing line, and we have one more line to connect, one more point to connect and to find another line from for this cube like that. And now we see that what we find is a point over here where these two lines are vanishing point connect. And you see automatically that actually if we've done everything correct, the point here and the point of this line will draw a line that is exactly perpendicular or forming 90 degrees above the horizontal line. And yes, it does exactly that. You see and hear. What do we see now is that the two sides of the cube and not only one-sided perspective like it is here. So if basically this is the side we see of the cube. This is the upper part of the cube, that is because it is below the horizontal line. And if it's the other part that we see here. And now we can do the same for the upper part, but let's change the vanishing point. Afford a cube that is above the horizontal line. So let's just go ahead and draw again the corner of the cube. Let's assume it's, it's over here. So this point and this point. So let's use this vanishing point for this Q2. But let's stretch the vanishing point for this job over here. Again, where the vanishing point is depends on where you're standing and which side you see the cube, how much you see from it. And this is something that we can experiment with an observed from real life drawing. That's why it's very important to draw things from one. So let's connect these points again to this vanishing point, this one as well. And now we have a new vanishing point here. Let's connect down here, and let's connect it on the upper point here. Okay? So now we assume that the cube, that this is the sides of the cube. Let's stretch these lines because they are aligned, need to, need two degrees, 90 degrees, where that Q with the horizontal line. So one will be here, and the next one is going to be here. Let me draw the rest of the lines so we complete the cube and you will have a clear picture. What I'm talking about. So connect this corner, this corner, and this corner to this line, and this corner to this line. And what is left to do is have this point here. And now let's connect it to this vanishing, the new vanishing point M. Again, if we've done everything right, there will be a point here and a point here that would be aligned, won't be able to align that is 90 degrees with the horizontal line is perpendicular to the horizontal line. And you see that is pretty much correct. So we've done things right? So here we have a Q dot is above all a horizontal line. And the size doesn't we see are the sides. And as you see in this queue, when Miss changed the vanishing point, we see much more of this side of the cube rather than this side. And the next thing is that if we have the cube on the horizontal line for both cases, here, we will not have any changes of the queue. See one square, we will not see any other side of the cube. And if we have this one, then we'll just have, we will have this line here. If it's exactly on the horizontal line, will have two new points, which will be connected again to the vanishing points here. And here. Which means that we will see on the two sides of the cube. Now we have this side here. And if we continue down the side and connect, this time the line to the ultimate fishing point. Here. And here, you see that we are not going to see either the lower and the upper part or the lower part of the cube. But we're only going to see the two sides. This one and this one. Just to clarify, I'm going to just make these corners darker. And you see how we built these blocks and how the perspective and the 2 vanishing, vanishing points change how we see the cube. So I hope this was not too confusing. As soon as you get a grip of it, we'll find that it is even fun because suddenly you get a perfect cube, perfect perspective. And I have used a ruler on purpose because you need to have positive feedback from the get-go when you start drawing. And this is very easy to achieve. I can just use this mathematical principles. So I'm gonna go ahead with the next lecture and the next shape that I'm going to show you the perspective of. See you there. 9. WarmUp: Before you start storyboarding, it is good to warm up. How you warm up is by trying to sketch really fast your main characters. To do that, take a piece of paper and draw one of your main characters. For example, now, on the empty space, choose a couple of poses that your character will likely take. With this process, you will also describe who the character is, how she or here reacts. How would she be happy? How would she be sad? How would she rest? Use the principle of sketching, using just stick figure to start with. In same way that I showed you in the video, where we'll sketch people from life in that way, you will be able quickly to find the proportions, to find the balance of the body and the main posture of your character. This will help you to quickly go into the storyboarding and draft your panels without wasting your time trying to discover who your character is, then why is important to warm up when you start storyboarding. Every time we get away from drawing, we kind of slightly forget how to draw, or we get caught up in fear of drawing. This is not very useful when the storyboard. So when you loosen up on a sheet of paper before starting storyboarding will help you to get into the process and overcome even your fear of drawing. Each time you will approach the blank panels to learn more about how to draw characters. Go to my course, how to draw cartoony humans. 10. FromScript toThumbnails: So now we're going to break down the script and go through the process of creating a storyboard. So here is our script. And it says exterior forest day. That is oral location in Grid runs through the forest. Peter is just behind her. Ingrid turns around and sees the drag on the protein behind them, sending fireballs through the air. Pete, come on, hurry. Peter is trying to catch up with her. He stumbles and falls. The dragon gets closer. Peter says, no chance to run away. He closes his eyes and waits for the worst. Just when ingress appears, she stands between him and the dragon, encourage Rosco swatch and fights the drug and as he attacks, include fights furiously. Her swot digs into the dragons. The dragon screams in pain and flies off. Ingrid goes back to Peter. Are you okay? I'm fine. Or your something in grid? They're safe for now. So what I do first is prepare a blank sheet of paper. I have fiscal paper or on Photoshop or another program. And I put some frames. What I want to do here is sketch very quickly and not really think about it. Just feel the flow of the story and the beat. So I'm going to start with the first scene with drafting a scene where the characters are running away. And here either I have the character design or I don't. In this case, I can just imagine how the characters would look like and kind of designed the forests as well. So I'm starting with that and drafting quickly while the characters are going to run. And what I need to do first is to find what a perspective face. So I quickly draft out with white lines just to give an orientation how the perspective S. And I'm going to use a diagonal angle here because the scene as dramatic as it is action scene, and I want more diagonal lines here to make sure I convey the drama within the sequence. Next, I want to emphasize the dialogue where Ingrid says Pete, Come on, hurry. So I'm going to signify that and turn her head towards Peter while she's running and still keeping the same pace. Next, I want to show her running away so she's she's much faster than Peter and she loses sight of him in a way, trusting that he's going to catch up water. In the next shot. I'm going to have a wide angle where we see the location. And I'm going to have the white Lengel from a bird's-eye view. Because I want to simplify that they're small children in the big forest. There is a danger looming over them. Also, I want to show the location of the branch. Does pH is gone and stumble and fall on. And just to have a hookup for the later action in the scene. 10, I want to show him running and approach in the branch, but he's not looking ahead of him. She's trying to get away from the drag on and make sure that he is not safe distance. So he turns his hat to the dragon. And in the next shot, I want to show the dragon because I want to show what he's looking at. It's still not his point of view, so I'm not showing the dragon from an angle. Where is Pete's point of view? But I'll still want to make sure to pointers attention to what Peter is looking at. And now I am showing Peter from the dragons points of view. And he is a small child trying to run and the dragon is really strong and dangerous. Notice that I keep the direction of the running always from screen left to screen right, because we have the camera on that side of a 180 degrees. And as I showed that he's approaching the branch. The next shot, I want to have a closeup to make sure that the viewer understands that he actually stumbled on the branch. So I'll put a close up on his feet and branch. And next we want to see Peter falling. So I'll do a medium shot where Peter is going to fall forward. And I'm going to signify with the arrow that the camera is follows him down until he falls. And that is going to be the next shot, the final pose of Peter folding where the camera move. And now we want to go back and see what ingredient is doing. Because now we've seen the story from bitters points of point of view. And Ingrid's is also a main character. So we'll have to go back and see what she's doing. And in the script, it says that Peter was closing his eyes until Ingrid appears. But we also need to take part of how is she feeling and how does she discovered that Peter is gone? So we go back to her and draw a picture drawn frame where she is running. And she's still running and now she is pulsing to make sure Peter is behind her and she doesn't find him there. So now she is really stressed. So we want to see a real close up of her to show her emotions. And she looks up to see even the drug. And so she gets even more distressed and worried. And now we see from her point of view what she's seeing and she's seen the dragon approaching Peter. She takes very quick decision. And in the middle shot now we will leave the close-up. We go back to the shot to the previous shot and where she is in the middle shelf. And she changes direction now. So she goes from right to left. And now it's okay for her to run in this direction because, you know, we've seen her changing direction in the screen. And now we see the dragon approaching. We are going to signify this where the shadow and have a bird's-eye view on our characters to signify how helpless they are. So the shadow approaching, looming over Peter. And we are closing in two Peter to signify the danger approaching over him. Also. It is a way of delaying action to have the viewer wait for the payoff. And we have, we see the dragon from the Peter points of view. And now we choose an angle, a low angle, where Peter as all along his clothing, his eyes and he doesn't want to see what's going to happen next. But nothing is happening. And he opens his eyes to see. And now we bring ingredient. So we're basically changing the perspective of the story for from back, from Peter's points of view. From Peter's perspective, how he is experiencing the story and from Ingrid's perspective, how she's experienced the story and when she's coming in. So the script is really good base for interpretation for you as storyboard artist. So now ingrate is coming in fighting the dragon. And we're looking over the shoulder now on Ingrid's, just to signify that she's taking charge, she's gaining power over the dragon. And again, she's fighting the dragon. The dragon is pretty serious enemy. And she's just a little girl. Some for dark matter, it is nice to choose different angles where she is bigger in the picture and then when the dragon is larger on the picture, on the screen. And just to have that dynamic of the fight being unequal. But then also for introducing that, she is also very strong and very skillful and has a chance to win. And then we have this shot where she's nailing the drug and what has worked in the dragons. I, by the dragon is taking a big part of the screen and Ingrid is adjust the little girl, but still her success. Welfare larger. If we show a composition, a little girl is winning over a beast of this size. Her heroic, her heroic role is greater. At that. With that image, the dragon flies off. And now Ingrid is seeing what's happening, making sure that the dragon is gone. Before she pays attention to her friend and runs off to check on Peter. And here at the end we have the dialogue I, okay. And Peter saying, I'm fine a year, quite something ingrate. And they're safe for now. Now this is a rough thumbnails. Now we'll have to break down those thumbnails and make sure that they work as a storyboard frames. I always do thumbnails when I start story-boarding because you can move these images around, you can skip an image or you can add an image, and it is just your drawing table before you go in. And drought frames that will go into the antibiotic for a final approval of the director or even out the editor. And that's what we're gonna do next. 11. FromThumbnails toFinalPanels: So how do I go about one, I start drawing the real frames. This first shot, it's a rather complex. It has a background and it has a certain speed to it. The characters are basically running through a forest. And, and I want to make sure that the background is scanning the same. So it feels like a pays for the same forest. Of course, you can do that frame by frame on a sheet of paper and you can scan at later on and you can do the forest very roughly. That's also okay because when you work with storyboards, speed is very important to be able to get the frames quickly. And so roughness is rather to prefer, rather than nice drawings. But for the sake of it, if we have a lot of time when the production where we can afford to make nice drawings, I would have something like that. So I would measure my frame for the format that I want to work with. And I will place it in these layers higher up so I can move through this scene and actually safe frames, moving this part through the whole forest like that. And I will maybe start from here. And I have even there my sketch to start with. And our cleaned up later and do some shading for the forest. And then I will have my characters placing throughout the scene. And here is Peter's. So here is basically the first frame. And I'll move this around here and I'll just crop it. I'll crop it like that image crop. And I'll save that as a JPEG. Save as. And here, I've already saved my frames here in the folder, what I've named thumbnails. So this is my first frame from the storyboard, from the Photoshop file. And here is my second frame, which comes from, I'm just gonna cancel out here. And I'm going to undo, which comes from me moving this frame in another direction. So I get a lot of peace of this forest or even hear what I have the same character, copy it on different layers. And I'm just going to have even Peter there for the next frame. And I'll have something in the foreground just to create pace. And I'm just gonna do the same thing. I'm just going to crop the image to the side to this size. And I'm going to save it as a JPEG to which I already have over here. And you see that you can feel the pace of these frames if you scroll through them. And here I can have this dialogue, compete, hurry. So these are basically three frames from the same shots where the camera is the same and there is no cut. And thus how I signified that there is a continuum congruity in the frame. So this frame and this whole sequence image is complete. So I'm going to go then to the next frame, this whole shot from the bird's eye view. And here is I'm going to name it as number two. And I'm going to have this frame here. And I'm not going to have the whole woods because I just want to signify that the characters are running through the woods and the camera is kind of still. So I usually always start with drafting this perspective thing and then drafting the, the characters where they are. And I'm adding the forest. And later on, if I have time, even if the production allows it, I'm going to put some shading on it just to have a nicer composition, to suggest the lighting a little bit, and how the forest frames this, this composition. And that is going to be my frame number, my image number five. So the numbers I give from my images here is just for me so I can follow some order. Now, this images later on can be renamed or they can be changed because the director might want you to flip some shadows here and there. Because when you get to the first draft of your composition of your sequence as a storyboard and you put it in the enzymatic, then you can see the flow of this animation of the storyboard if that works or if you need to change it. So then here I want to see I have Peter approaching the branch. But before that, it feels like I need to have some more speed. I need to have them running more. So this is something I see. One I work within this process. So what I do, what I did here as I added another frame here where Peter is running. So what I did is just, I took a piece of of the woods. And here I have peter running into poses. And 11 of the spouses is when he's running forward. And I just copy this layer. And I just make the other posts very simple just to signify that there is speed to it. And then I have another frame where I have the same bowls of edges, turn his head towards the dragon. I just want to simplify danger. And then I color this frames. Curious for this frame. And I'll close and open layers. And I get this layer. Whereas the background, and for the next frame, I just move it a little bit. And eventually, what I get, if I see these frames, I get the sense of speed. Now, again, things can be a really, really rough and the character doesn't need to look exactly like this character can be rough because again, the most important is that you can draw these frames quickly. You can have a speed in the production. And that's how I actually go about through every single shot of those shots and just create a couple of images like this one for example, here I have sigma phi dot. We see, we follow with Peter forward. And the frames that I'm doing in storyboard is basically something like that. I draw this one and then move the background towards Peter. And then I have the other frame where I just draw these two frames with Peter and have the background moving. And, and now I can cut on to this image and even have the dragon approaching if you are. If you want to be better in storyboard, you can even have the dragon flapping his wings for two frames. Thus can make it even better. And here I have the close-up and the Peter falling. And now you see that the camera's going forward. And we have Ingrid in the same way with two frames running. And again the same what? So basically I go through every frame and break it down. And I want to show you another frame that I've done here. For example, this frame when Ingrid stops. And here I only changed the eyes of the character because it will sell like why the eyes is important, are important. Well, it does because it signifies direction and it gives the mode, the emotions towards going on in the scene. So I have this frame where she's looking up and gas basically the whole shot. So you want to pick up all these small details, things that you can think that will enrich your storyboard to put it in and make your storyboard alive. So when the viewer starts watching, they can get a clear sense of what the sequence and scenes are about. And next, I'm going to show you the whole sequence edited in the enigmatic. So you can see the ending, how this process ended. 12. Final Sequence: We start with the characters running through the woods and the pacing is fast. That drug a nice approaching. Peter is stumbling on the branch and false. Ain't great. Continuous running. She turns around to see if Peter is a k and sees the dragon approaching. She takes the first decision and turns around and runs back. The drag on as a looming over Peter. Close his eyes and waits for the worst, but it doesn't happen. And Ingrid is coming in and fighting the dragon. And she nails the dragon in his eye. The dragon screams in pain and flies off. Ingrid is making sure that they're agonists away and goals to Peter. Are you okay? I'm fine. Your something. And that's the final enigmatic for this piece of script.