Now Boarding! Planning Your Moving Story: The Art of Storyboarding | Isaac Ramos | Skillshare

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Now Boarding! Planning Your Moving Story: The Art of Storyboarding

teacher avatar Isaac Ramos, Animator. Artist. Husband. Teacher.

Watch this class and thousands more

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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

11 Lessons (1h 43m)
    • 1. Now Boarding! (Welcome to Storyboarding)

    • 2. What's a Storyboard?

    • 3. But How Does It Work? (Ex. No. 1)

    • 4. It Moved Me! (Camera Moves)

    • 5. What's Your Angle? (Camera Planning)

    • 6. Just Lay It Out (Scene Planning)

    • 7. Get Some Perspective (Perspective Drawing)

    • 8. That's Deep, Man (Using Depth)

    • 9. Making A Scene (Ex. No. 2)

    • 10. Books, Books, BOOKS!

    • 11. Big Thanks!

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About This Class

Break into the world of visual storytelling!  In this class you will learn how to plan your visual story using the practice of story boarding.  This is a very practical tool that will help you plan your story from start to finish using dramatic angles, camera movements and actions that will get the point across for your cast and crew.  Join up and get started on your story today!

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Thanks! And happy animating!


Meet Your Teacher

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Isaac Ramos

Animator. Artist. Husband. Teacher.



A Quick Blurb About Me

Hi!  I'm Isaac and I have always loved art, animation, and films.  I am an animator, with a year and a half of formal animation education in 3D, but gravitated to 2D and learned that on my own.  I enjoy teaching on Skillshare and want to bring you the best classes you can find to help you do the same!  I am a 4th grade teacher and a business owner and do pretty much anything else I can get my hands on.  I look forward to sharing my classes with you and seeing the amazing things you all will create!  Check out my website for more cool stuff:


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1. Now Boarding! (Welcome to Storyboarding): e. Everybody, thank you so much for checking out my class. Um, I hope that you will look forward to using story boarding and being able to learn what this whole process is with planning your visual story. This is an awesome course. If you want to know how to use your story board to plan for a commercial for an animation for a short film or for a feature film you can plan. You can use a storyboard for just about anything that you need. Teoh plan to use some for some kind of presentation. So, yeah, jump right in and figure out what it is, what books you can use. What sort of resource is you can use, what different techniques. There are two story boarding and most of all, have fun creating the project that it comes towards the end of the course. It's a really awesome thing that you get to do with storyboard because it's all from your mind. It's all from you, and it's 100% yours. Nobody else speaks into what it is that you're doing whenever you create your own storyboard, and having this practice now might help you get a job later on. I hope so. That would be really awesome to hear about that. But if you have anything that you want to learn about story boarding, I've covered most of it, at least to the basic level in this class. So jump in, Go have fun, get your story board going, and then maybe later on, turn it into an animation. Who knows? The possibilities are endless. So come on in. Enjoy. And I look forward to helping you learn story boarding. 2. What's a Storyboard?: So one of the first things that we have to answer is what is the story board? The storyboard is like a visual road map. You're gonna go somewhere and try and figure out where to go. Um, just by guessing you want a plan. So that's what a storyboard is for your visual projects. When you use a storyboard, you are using ideas that you can communicate visually, and there's usually a process to developing these ideas. You might start off with what's called thumbnails on These are many sketches that are about the size of you're some and you do really small quick drawing so that you can get the idea of a shot very quickly. You just want to kind of rough in your ideas, kind of figure out where people were placed in the scene, just kind of see if it works without having to go through and put in so much detail that you waste time on something that you don't know is gonna work or not. So that's that's what a thumbnail sketches, and it's really bad. Usually they're really bad drawings, just something that kind of get your ideas down and then you might go into what's called roofs and these air larger drawings that probably two times the size of this one. I know that doesn't really show on the screen, but you're gonna get more detail this. Well, let's say that shot does work. So I really want to come in here, put in more detail, maybe get characters outfit and on the scene. This is where I'm gonna put in more details, spend more time. Say the director liked what he saw on that last one. You wanted minor changes, but nothing where I had to go through, plan out the whole scene all over again. So again, rough drawings. But don't communicate the idea. So then you would go through and you would figure out what is going to be more polished. So this is where you're gonna have your characters more fully fleshed out. Might even have some instructions for characters. Or for the director, help you communicate better. What is that you're thinking? So you would go through and put things together a little bit more quickly. Then you go, Teoh. This might be your polished finished piece to submit. So after you get all of this stuff down. Let's say you have. Let's say these are three different scenes. Here's seeing one here. Seemed to your scene three Um, maybe scene two doesn't fit into second position. So you reorganize it, too. Um, go to position once that you would scratch that out. But I know this is gonna be one, and then this one needs to move over here. It gives you the freedom to move around your scene without having already done everything that is going to be in your shot and lets you figure out where it needs to go before you put it there and spend all the time either shooting it on camera and then going into editing and figuring out Oh, hey, that doesn't work that well where it is. We should have shot that or really should have taken that out completely. Um, so I don't want that shot in there at all. So it helps you to figure out where you gonna go and figures out your plan so that you don't spend all this time and money. And if you're doing this for fun than time is money. Um, so you don't want to hear this was equal. You don't want to spend all this time or money on things that aren't gonna work. So story where it helps you to get that all figured out. So it started layer here minutes. Photo shop is nice because you can just go in and quickly make changes, Make edits. It's very clean, very easy to work in. And you don't just really don't have toe. I'm just going to change that 200%. Um, So what is included in a storyboard? What is in a storyboard? So there's a lot that actually goes into a storyboard? Um, it is your visual plan, so you need to know everything that needs to be included in the scene. So there are characters that are included in the scene. There is character placement. Um, you will have the mood, or the setting of the scene is gonna be in there. That might be cold weather or this is angry and dark. There's a lot that's going to be, I guess you could say lighting as well, because that helps with, um, mood setting, all that kind of stuff. Um, other things that are included is the camera angle, and sometimes even the camera lens. Teoh, see what kind of depth and perspective you need. So it'll tell you where the camera used to be. What kind of lends you need to use what's gonna look best in for that shot? Um, and your camera moves. So if you can't read that very well, um, that's why I'm speaking as well. Your camera moves are gonna be like, uh, push in truck dolly an, um, tilt. See what comes in. All those, um, zoom in or out all kinds of things that you can do, and we'll talk about the difference between each of these things as we get further into the class. Um, some other things that might be included would be whether you can communicate what kind of weather is happening. And, I mean, it's very simple. Not super difficult to figure some of this stuff out. Um, rain, snow, maybe Hail, wind. And, um, some really easy things that you can do to communicate your thoughts and depending on what your story board is gonna use for will depend on the level of finish that it needs to have . So if you're doing this for Pixar, it should probably be very, very detailed. If you're doing this for your own movie, you could probably use stick figures and get away with it because you know what you're talking about. You know what you're doing. If you look at some of Martin Scorsese's storyboards there very scribbling and gets in there talks about what he needs to do, we'll talk about the way the person doing is holding a gun. He's got a big cowboy hat on. Um, very simple, very easy, very scratchy, kind of ugly. But it gets his communication down, and he does exactly was saying on what he's doing. Um, and you might do in over the head. Let's see over the head, um, shot. So you're looking top down and let's say your camera is right here and you need the camera to move all the way around to this side groups way on camera to move all the way around this side. So this would be a be a while your character's air standing facing each other, so it really depends on what your scene has that everything is going to be included. A storyboard does all of this for you, so that You don't have to guess when you get to the point. Uh, we're trying to go. You don't have to guess about what it is you're trying to do or what you're seeing needs. You've done all of the planning. You can just jump in and get right straight into the shot that you're going for. So that is very basic about what a storyboard is and what a storyboard does. 3. But How Does It Work? (Ex. No. 1): So let's sort of get into, um, what a storyboard might look like if you need. I will provide some different files for storyboards in the project section. You'll be able to find those, um, pretty easily. So don't worry about different layer. Don't worry about having to make all of these on your own. I'll have him for you. Some a few different ones. You could have either. A multi panel storyboard page. Well, you've got several of these You could have where you just have one panel, single pane storyboard. Which would be that, of course, just one. It's if you want to have a lot of detail. It's just really important. Shot, Um, could have two panels. These aren't quite the same size, but that's it. And you could also have thumbnails, which is what we talked about earlier. That's okay. Just take these bring down. Make sure that we have a bunch to use later something. Go ahead and put this on another layer so that I can just go in and move around quickly. Change my brush size a bit down to 10. Never I go in. The nice thing about voter shop is that you can get in real close without me. That's kind of her to do that on pencil and paper. So we have photo shop or any other image editing software like gimp or anything like that that you can draw in. Definitely go for that. Um so what we need first is something to storyboard. Not really a whole a lot of point in trying to come in, do some storyboard and not have anything to work from. So let's just say, uh, Sally goes to in the store really exciting stuff, right? We could make this a whole lot more interesting, but, you know, there's a whole lot of freedom that you could do this. You could just have Let's see, uh, let's draw her from a side view kind of a manly looking woman. But that's OK so we could have her. She's got her purse. So there, Sally. And then we see her and she's walking into the store. Not super interesting. So what we do is as a storyboard artist, you have the freedom to go in and put as much detail into this as possible. Um, as you feel is necessary to communicate the most interesting story that you possibly can. China's tell a bit, so I can have a little bit more freedom to edit without having Teoh do as much. Okay, what happens in between these two panels? That's up to the storyboard artist. If you have something simple like this, you can either draw this right here, say, here's seen one. You seem to end of story. So here is the beginning. And here is the end. Not very exciting. Solis Spy. Simple of it. So let's say that Sally right here. See, I was at home and she was making dinner for herself, and she was looking through the cabinets and say, She's reaching up. Notice that this is how the camera angle is starting from, Let's say the window. You wouldn't want to cover up her face like that. So you have toe that down a little bit right there. But we're looking in to Sally's house from outside, and we see here looking through her cupboards. And then from there we see inside the cupboards, the back of it, and we see happy fat little mice. These two mice ate everything in a cabinet, so there's nothing left, She can't make dinner. So from there we see her expression. You want to get in real close that we could see the horror on her face Already, this is becoming a much more interesting story. Might not be the story of the year, but better than Sally goes to the store. The end. We might want to push closer. So we write a note, going to go in, close your eyes, then maybe from there we find out she is angry. It's already. You can see how this takes the story from being super boring. Too much more interesting. There's angle. There's all that kind of stuff. There's some dimensionality. There's some depth to the story. It's not just she's going to the store, it's She was trying to make dinner nice, ate her food. And now she is horrified and angry that she has to go to the store because of these national creatures. Um, that makes it look a little happy. We don't that we don't want looking happy, but you see, from the big picture these a really small, rough drawings. Um, we could go through and scribble out the rest of the story and figure out exactly what? What it is that happens in between these two scenes. So this might be one a one, the one C one d, or you could take it. Okay, let's just say that I'm not gonna number this. I'm gonna change this to to three. Here's four, 56 etcetera. Go on. Uh, on and on with that eso. Here's a rough idea of what it is that storyboard artist does when they have a text. They want to change that text into an interesting and visually pleasing story. Um, so here we go As we go on, I'll break down some of the different aspects of story boarding, starting with some of those sorts of things that you'll need just for basic shots, things to think about as far stories go. 4. It Moved Me! (Camera Moves): so there are several different camera moves that you can use. Um, and a lot of them are very similar. So there's, um, some of the basic ones or zoom um, Dolly or truck those air. Pretty similar, if not completely interchangeable terms. Um, there's pan and tilt. Um, probably the ones that your most familiar with would be the zoom in the tilt. Um, you can get some really cool effects if you you zoom in Dolly at the same time the vertigo shot where? Something. The background gets super close, but the character in the screen stays in exactly the same spot. Whenever you combine these two moves, they're really good. Um, there's a lot of movies that will use the pan and zoom so like they pan up to the character . Um, if you think if you want to think of Pan, I'll do this, Um, show you like this. Pan is like a, uh how nice. It, um, Pan would be like if you pan up to a character, you're gonna start focusing down and let's say you're looking at the ground right here, and they're gonna turn it up. So it would be that that turning motion is the pan. Um, so you might pan would be where the camera is stationary. The camera is staying in one spot. It's planted right here. It's not moving. Um, it would be where the camera tilts from this position right here and looks, uh, down or looks at. And sometimes it might even, let's say, if you're looking at it from a top down perspective, um, the camera might pan to the right or to the left, so you're just a pan is a stationary move. So let's see. Stationary move. Um uh, Down left. All right. And I'm sure that's probably a video game Cold code somewhere. So you could try that, See if it works for that, too. But it definitely works for, um, camera moves right here as far as the Chandos. So zoom super easy. Um, well, let's say if you want to pan, um, you would right. Draw yourself an arrow and you and dry like that you would say pan. So the way that you communicate is drawing an arrow, the direction that you wanted to move and writing in the directions pan. Right? Um, let's say you just have a straight arrow and that or pan down pan left. Either way, you want to write it like this. Zoom. A zoom is super easy to communicate. Probably the easiest one. Um, zooming in er out is really if you want to zoom in, you'll draw a box that mimics the screen so you can draw from the corners. Draw into the new corners of the new zoom area, and you're going to say, Here is the existing screen. This will be my one, and this will be my to I want to start from this big black Bolden area and zoom in to the closer area. That's it. That's what you gotta do to communicate a zoom. Um, if you want to see him out, you would start right here. Zoom out to that area super easy to communicate that you just draw arrows from where it was to where you want it to be. And let's say if you want to show deism, you could drawn era to the next panel over and say, Here's where we start. Here's where we end and just redraw what would be inside this in the next box so that you can get that a Dalai or a truck is a little bit more complicated. Um, it's similar to a zoom in that you would, uh, draw your new screen right here. This is telling the camera operator much more clearly what it is that you want to do. A zoom. The camera stays in the same spot. So again, this is a stationary moves. The camera's gonna be in one spot, and all you do is use the lens to go from there to there. The look of the camera move is very different from a dolly a Dalai. Your camera is going to be on wheels and your camera moves from point A to point B. So let's say we see Bob standing right there like you've even got a smile already. He's gonna move. This right here is going to look very different from the Zim you can see from. So is the, um gonna look different from a dolly dolly. The background is going to change background right here, not going to change much. This is still gonna look like it's right there. Whenever you get up close to this one, that ground might look like it's further way or it's gonna be moving dimensions a Sfar as the placement of objects. A zoom isn't going to change anything. The objects and the person stay where they are. The camera just zooms in closer the Dalai everything is moving, you could say is moving past furniture. So you're not gonna see that furniture anymore in this one. You're just gonna look past the furniture instead of move past the furniture so very different feel between these two And to communicate that you and draw a dimensional arrow and say Dolly dolly in or Dolly out kinda hard to write sideways Dalian Dolly out. So that's pretty much it for a dolly or a truck. Um, tilt. This is gonna be another stationary camera move, but a little bit harder for communicating. So tilt, probably less often used. Um, just depends on what failure going for and all of these are the same in that regard, you were always going for feel what feels the best when you're trying to communicate. This guilt is kind of similar to a pan. Um, there are some differences. Um, tilt is going to be where your camera changes the angle. So you want to go from here to here near there. You want to communicate what your camera is going to be doing as a stationary. It's telling the camera to rotate from our to pivot. That's a good word. Pivot left or right? Um, it's not quite looking up or down. It's the tilting from one access. So it's gonna go from square 12 square to where the corners are gonna move a different direction. Or right here, too. Right there. So that's, uh, four basic moves. Um, that could easily get very, very complicated. You could zoom and tilt, so that would be kind of like whenever you try to get the feeling that somebody's dizzy or that their world is spending, you would push in and tilt the camera so you would zoom in zoom and tilt Zim tilt, and you would feel like this person is they're just whole world is turned upside down. Um, a Dalai in a pan. You would be moving closer and maybe get the feeling that a person is giant. And so they would go from looking like this to looking like that. They would see their big belly see their big arms they would go from looking like a normal person to just being this mammoth of a person. So all sorts of things that you can do to combine to get different feels for how a story is going to look in a particular moment. 5. What's Your Angle? (Camera Planning): let's talk a little bit about camera angle. So camera angle is what is going to be most visually pleasing about your seen aside from composition, your camera angle tells a lot. Um, so there a lot of things that you could do over the shoulder. You do, Uh, Birdseye troops, Birds, I which would be overhead top down. Um, but, see, you could have a wide angle close up, extreme. Close up. Um, let's see a mid shot. There's all sorts of things that you could do, so we'll use, um, Bob. Um, here's Bob as our dummy for this, and you can see I want to put in a whole lot of detail. I'm gonna go and make a new layer out of the use. Don't want to drop over. See on there so we'll do that up here. Top. So Bob is going to be our little person for this. Um, so camera angle is going to determine a lot. Um, this right here is just a straight on mid the street on mid shot, because mid means that we can see pretty much the whole person, but we don't see a whole lot of landscape otherwise, we don't see much. Uh, he might be you walking down the street and so used turning around the corner right here, Um, in a big building behind him, um, there's about he's walking down the street right there. You don't see a whole lot mid has a pretty good range of things that you want a wide, let's see wide or establishing shot would be used every time you change scenes. Um, one thing that I can think of one show that I could think of that does this a lot. Or a couple shows, I guess. On The Simpsons and family Guy, you can see these a lot. So whenever they transition to the house, you'll see an establishing shot of the house. This tells the viewer Oh, yeah, you're in a new location. So you would see the whole house. You would see maybe parts of the neighborhood. Um, you could get an idea of where you are, so establishing shots are used for establishing where you are. Wide shots are really good for that. Um, I don't know if you ever saw Teletubbies have the creepy baby son. Um, this was not that creepy. Um, so whenever you uh, just finishing up a shot. Um, whenever you use a wider establishing shot, establishing shots are mostly like extreme wides, where you can see a lot of what's going on in the whole area helps you figure out where you are. And, um, instead of going straight from McDonald's to home, you have McDonalds. You see the outside of McDonald's. You go in, you have the McDonald seen you pull out a McDonald's and then you transition. You have a reception shot of your house and you go in and you see the family eating McDonald's at the family table. Um, random. But that's that's kind of the idea of a a wide or establishing shot really good for telling people where you are. Another example of a wide shot when we just go in the race that quick. Another example of why shot might be, um, let's see. We got to gunslinger's, um in the desert, but to have their gunfight at sundown and a very unimpressive drawings, Thank you, tells the viewer where you are, what time it is, what's happening, where the people are, how far away they are. You can be used for dramatic effect. Do you want to use it for every shot gotta choose, pick and choose when to use it? Um, close up would be of whenever close up or see you for short, Um, would be hip wastes. Um, head. So you're gonna be able to see everything from that person's hips to the head. This is gonna be more intimate. More for dialogue, anything like that. Um, important moments. Um, for conversation, you'll start seeing these and how they're used in in what times they use. Next time you watch a movie, pay attention and you'll be able to tell what kind of camera angles are being used. I took a class on this in college. That was something that I noticed. I started picking up on what scenes had, what kinds of shots and someone so forth so you won't be able to unsee. This is basically what I'm saying. So another, um, another one is extreme close up or e c u. For short. This would be like face eyes. That's about it. Um, a lot of people will do. Uh, this number right here where you have, um, something like this you got doesn't mean That's the only detail that has to be in there. But that is a neck stream close up. And then you might have This person is running from some nasty creature yet some depths with extreme close up shots. You can see this and then he might be a little bit blurred out. Um, because you're really focusing on the characters in motion. So you're gonna see a little bit more of what's happening right here rather than what's happening over here in the background. Your focus is on this person focusing a lot more on this, Another example of an extreme close up. Just to show this would be the moment that someone, um, has, like, a realization Or, um, you want to see the intensity, um, in their eyes for, um, maybe they're working out really hard. They're getting ready for they're big race or the big fight eso you're gonna see some determination. It's not always just used for, like, horror and suspense. You're gonna show some level of intimidation or, uh, determination where I'm looking for, So you really want to see and feel what that person is feeling? And the extreme close up captures that really? Well, extreme close ups are really good for, um, making sure that the viewer, Because that's that's what you gotta think about. You don't just think about, um what do I like, cause you might really like establishing shots and take some really, really wide shots over and over and over again. You really want to capture? What best what? Camera angle. What? Uh, dimension of the shot is going to best capture what? I'm trying to communicate right now. Um, because that may not be a closer. It might be the wide angle. It may not be a mid shot. It may be the extreme close up that best captures that. So you really have to think hard. Pay attention to what the viewer needs to understand the communication that you're trying to get across or the point that you're trying to get across through your communication. You're visually communicating an idea. So you have to think carefully. Think hard about what shot is going to best capture that. So for right now that is camera angles or camera depth. Lynn shots, um, different types that you can use for that. Next, we will come cover camera moves, so be ready for that. 6. Just Lay It Out (Scene Planning): So next. Whenever we do this, you need to figure out your seemly out. This is another responsibility of storyboard artist is to know what the scene is gonna look like. So probably the easiest way to do this is to have at least one storyboard where you are going to have just this scene laid out for anybody who's looking at it. So let's say that we're looking in a dining room. I had a ding room, a dining room. Here we go, a dining. So I would have on my table here in the middle on. See, I've got gonna have kind of like a king type table. Why? 99 10? We'll have 19 like that. Let's say there is a hutch right over here. Go ahead and label it that way. I can see that. Let's say there's a door. Let's make a little bit whiter. This would be the kitchen through here. Mm. It is a big window right here on save to go this way, You're gonna go into the living room. I'm not sure what everybody calls it. Um, I've called it then before, living room, sitting area, Whatever. Family room, whatever you call. It is long as people know, um, and let's have another window this way. So there's probably a little card table over this way. You have a lamp on it, ma'am. Desk, the essentials embarrassing. This is what it would look like right here. Um, after you do this right here and then you do a little bit more, um, planning for where the camera is. Let's say that we want the camera to move from a to be focus on this area for a little bit . You want to have the camera dolly around this way? Do you want the camera to Dolly around this way all the time, focusing on the family family, sitting here in the dining room, watching them. So that's one way to do that. You have our keys key. Uh, camera moves here, so here would be focusing on them here. Be focusing on them cameras facing this way. You even have it where the camera would pull in. So it's facing whoever's walking in, going around the table and then switching around doing this way. Have a nice camera move. Um, might be difficult to do that in animation, but that might work for, um, a movie scene if you were doing it with live action movie. Um, let's have another scene where maybe this is on a basketball court. This scene is on a basketball court, so we would have half court three point lines. There's the goals. Got stadium on this side stadium on. I will say this is, uh, high school game. So this would just be our layout. We're gonna have a camera from this angle from this angle. I had a camera shooting on the court. Some right over here. Notice that I have my cameras all on the same side. I'm not putting cameras over here on this side. This has to do with the line of continuity. This is a rule where you don't want to pass 180 degrees. So you're not gonna go on this side. So let's say that I have a character standing right here will make his face a have another character over here will make their face be. It's right over here. And I'll give this person a Mohawk. So since the cameras on this side, I could go behind this character, um, over there. Was it left shoulder and this character over the right shoulder. But I don't ever want to go over this. Characters left where this characters right, Because that would pass the line of continuity. So I've got a right here and this is a top down shot and be right here. I would always want to stay on this side. I could have the camera at any point on this line. As long as it stays on this side. I never want to go on this side because then I might have it toe where Draw a little, What if scenario. So it's a we go from this shot over here to the shot for then I've got all of a sudden I have be on this side and on this side, everything is gonna be backwards out. Everything has flipped. It just doesn't work for the camera. Be careful when every year tryingto plan out your scenes that the characters stay on the same side because it gets really confusing for the viewer. If weight wasn't over the left shoulder or wasn't over their right shoulder, Um, and just doesn't work whenever you flip side like this, Um, so you could either. Stay on with the camera on this side, basing this character, actually, no scratch that just always stay with one character. With that, if it's a single camera move, sure, you can go all the way around. But if you're cutting scenes, you want to stay on one side of the line of continuity. You don't want to, um, have this really awkward plant awkwardly planned scene where the camera keeps jumping over that line of continuity. It helps to keep the story and plan clearer. Then, if you were, just go in there and start changing things and putting the camera wherever you want it. So my line of continuity would be across the middle of the court. This way, Um, maybe from the home stand side be visitor, Is it tour? Um, so, yeah, always keep in mind the line of continuity. You want to have a solid line of continuity so that it does not become confusing for the viewer what their perspective is. You want to make it as easy as possible for the viewer to understand what's happening, and one way that we do that is to keep our line of continuity always stay on the same sides of characters. Um, let's see so another way that we might do a plan. Let's kind of zoom out. So dining room. Pretty close, intimate setting basketball court. There's a lot of people. It's a larger area. Let's do a park. Um, let's say we have a scene where we have some people playing in a park. There is a tree is a pawned True. Say I'm due another tree right there. That tree right there. I have my pathways coming over this way. So this would be what my park looks like. And I'm gonna have the camera coming along this way. It's gonna go all the way through the park. It's no other way to set it up. You can think about when people are crossing. How many people are here. How many people are going to be interacting? How many people are sitting and having a picnic? Is there a fountain, uh, spouting water? Really simple destruct out sketch. Just kind of playing around with it, digging out where things belong. And what kind of things I need to visualize and keep track of this really helps with editing. And again, the idea of continuity, making sure that you know where people should be sitting, making sure you know what they should be doing so that you don't go back. And then all of a sudden, these people on this side of the path instead of standing on this side, they should always remain on this side until this scene is done and making sure that your plan is going to be carried out perfectly. Um, one more. Let's say we have a superhero chase through the city. Got our whole city mapped out. Let's say it's on a grid system. Really nice. You've never lived in a city with a grid system. I suggest moving to one, cause it's perfect. Um, see, you got, uh here's our park and say, Here's our Jim And here's the house that we were at. So here's that house here is the gym and here's the park. So these could all be parts of home home. Um, you could have his city buildings just all through here. Let's say this hero goes through crashes that destroys the park, destroys the jam and then trying to fight to keep somebody away from his home. I could just have like this huge, like scramble right over here destroys that right there. Just blows up the park, causes the gym crash down, and then all last one at the the final battle scene is in the dining room. I don't know, just kind of playing around with ideas and figuring out what happens where things fit where things go together and what could happen. So this is what a scene layout would look like if you were just to kind of plan camera moves, playing out big motions where people are gonna go, what they're gonna do instead of this being a stroll through the park. This is, ah, super flask. Fly through and people get up and they run away. Um, so they're running off screaming because there's this huge battle happening between superhero and supervillain. Things like that they could crash through while all the game is happening. Somebody shoot the three office and that gets knocked away by the or the superhero crashes through and destroys the best body. All sorts of things that you could do with this. This is very flexible sort of plan that you can use to lay out how a scene would go 7. Get Some Perspective (Perspective Drawing): Another thing I think about is perspective. So when you are working on you're storyboards, you have to think about the layout. Yeah, but you also have to think about what it's going to look like from the camera's view. This is especially important for animation because nothing is given to you in animation. In film. It's much easier to do this because you just think about it. You think? OK, here's character one. His character, too. And you go from there. The camera does all of the depth and perspective work for you, but with animation, you have to think about that. So let's say we're in that, uh, park. So a draw, my prospective Linus to be the horizon. And here is the point of the vanishing point. So if you need Teoh, go and look up a little bit about depth and perspective and kind of get a tutorial on that , you can always go and look at YouTube. They have great stuff. Do you have to think about like that? So you think OK, well, uh, earlier had the pond was over here in that big area sound draw the pond and, of course, upon doesn't go over the horizon line to make sure that it stays consistent with that. There was a tree right over here, and it was much bigger than straw. The tree that was over here in this one. Lets say that I'm standing under the tree, so I need to Yeah, its leaves and branches. You say there's some hills, this park when you think about how perspective lines run across the hill just flat view. So the further away things get smaller, they're gonna look as well in perspective. Have you have a tree off in the distance? So I'm gonna be nearly the same size Feel like that would be kind of straightforward, but it's really important to remember in perspective, drawing you sure to take care of that. So your path and we had it going this way, Maybe it went up over the hill. Gonna have gonna shrink off in the distance. So it's a if this was our background. Let's make another layer so that we don't ruin this one. Go ahead and lock that way. Don't edit it on accident. Um, we've got our superhero, my superhero, to fly through Mr. Net Opacity down. So that it's not as distracting. Get our main details in oops, Wrong Earlier. Locked. Okay, so we've got our superhero and flying through massive canon arms chasing the villain who is taunting flying backwards. They kind of get some of these details in there is our superhero mad. So he's flying this way and I don't want camera move on this. So I'm not going to worry about moving the camera. Zooming in, are pulling out or anything like that. So you just say down here, give a little note Superhero cases, villain taunts Something like that. Something really simple. Really easy, Um, and very clear. We see the superhero is chasing after the villain, and the villain is kind of taking it easy. Making funny. Maybe he's destroying things is he goes laser laser blast to the tree and blows up the tree . Wow, Pedestrian. They're scared trying to run away. Yeah, this is very clear, but it's very simple. I'm not doing super in depth drawings right now. I just want to see if they work so you don't have to do super detailed drawings for the very first thing that you do. Just get in there, make it work, make sure that it does work and then tweak it if it doesn't. If this didn't work, then I could try something else. I could see if maybe different characters or a different camera angle or different placement of my characters works better than what this is saying right here. Um, for right now, I think this pretty clearly communicates what it is that I want to do. Um, maybe add a few more characters, um, running away. Okay. I feel like there's enough panic happening. There's not enough going on to, um, make these characters make it seem like it's as hectic of the scene as a panic as it should be. There's gonna have as many people running aways I can, um, just to get the idea down later on. If I decide that I like this and I can go through and I can actually Ruffin, um, some more details than I can smooth them out, polish it up and make it look like it's ready to present to the director or anybody else that I need to show to get this scene approved. Um, soas faras perspective goes, that is how that would work for that scene. Um, let's see. Let's talk about our basketball court. So same idea, gonna. But in my basketball ago. And I want there to be large area that doesn't work from me right there already. So I think it's a little too big and 20 to steal it down. All right, there we go. That's a lot better Hopes. So gonna have my horizon mind vanishing point again. Actually, let's put this around where you didn't from that direction. So let's flip it that it's a bit no man. That's selected analysis from So we're going to advance in point in the other direction. So I got here. So everything is gonna go from that vanishing point to make sure that things were going from that direction. So any rafters or anything like that is stadium. Everything is gonna go from that point. I'm gonna have basketball players shocked about what's happening right now because the villains come in destroying this right here. Huge fist. He's looking over here. See that? So sorry. These aren't super detailed, but just trying to get a point across as quickly as they can, giving you times when you could go and get right to it on your drawings. So there's a really good way Teoh to think about perspective right there, just in a cup. Couple of quick drawings you can go through, fix up perspective and make it work for you real quick. Let's look at three point perspective. So I would say I've got three point perspective right here. I would have this would have those two. You'd have three vanishing points, one up to the top, where you would see just the scale. So let's see if you want to show how big somebody is, this is when you would use three point perspective. It's like if you were thinking about Hagrid from Harry Potter, this might be one way that you showed just how big he is. You have some really fine small details up here. They would have some bigger features on this way, so this might be what you use for Santa or for a giant basketball player or for a giant. You might use a three point perspective for them so that you see just how big this person is in advance have vanishing points bone from that one, and she points from this one matching points from the top. So that's three point perspective. Very quickly show you the size of a building, a person or just to show some intimidation. So a little person looks up. But somebody, this is what they're gonna see. Maybe it's a child looking up in adult that they're afraid of or, um, somebody looking up and just being in all of how large a person is, all sorts of things that you could do with three point perspective. One point works great for what you need, so there's perspective Enjoy. 8. That's Deep, Man (Using Depth): quickly. I want to talk to you about depths most of time. People, especially if they're beginning, will make drawings like this. And everything seems to be on the same layer saying depth. And this goes along with perspective, which we just talked about. Um, but, uh, you'll see some drawing of somebody standing and waving from a distance. It kind of looks like a really bad Polaroid picture. Um, you'll see how everything looks like. It's the same depth. It's the same distance away from each other. It's the same distance away from the camera. There's not really any visual interest there. And so some things that you could do quickly to help kind of pushed things in perspective, as Faras they go is to do what I said. In the perspective, video is to change the depth at which change the size at what things are are where they go . So you might still have a horizon line. Um, but the first thing that you could do is to change the horizon so and break it up so that it doesn't all fall flat, straight line like that. Um, if you're in a school or if you see the wall. Sure. That's gonna be flat. Um, but if you're out in nature, more than likely, you're not just gonna see flat ground unless you where I'm from in Mexico and everything is flat. Um, but let's say there is a mountain off in the distance and you want toe show how far away it is. It's not gonna be suit. You're gonna see most of the whole mountain in a picture. It's not gonna go off the screen like this one in here. It's gonna make that go off screen. You can see what I mean. Um, looks like the person standing right based in mountain. But really, this is 2040 80 100 miles away on the tree is same way. If you wanted to show that, you could think about the balance of the picture. So I have something going off towards the top right here. Something going towards the middle right there. I don't want to cut this out completely, but I don't want that to be as blank as it is right now. Let's say that I've got the tree right here, right next to the camera. You're not going to see the whole thing. I'm going to see the very small detail. Let's say there's a whole country where the squirrel lips and you have a whole lot right there. Now take care of the tree. The tree goes off into the middle of the screen, kind of making some visual interest, thinking about the layout, about the appeal, making sure that's something that's interesting that somebody wants to see, not just something that I make for the sake of making it, but making it so that somebody can enjoy it later on. And let's say I've got a backpacker. He's hiking through no, make a little backpack, and even he's not walking straight away from the camera he has death is holding onto. I was walking away at an angle so very quickly you take something that is flat like this, and you give it depth working from the flat kind of Martin monotonous, boring picture to something that has visual interest. So this is a really good exercise that you can do using depth and perspective, making sure that you can create more visual interest with something that is close to the foreground and deep in the background and have some things playing off in between, amusing that. So you can just kind of go ahead and scratch in some different things that got the lines perspective and having depths and just messing around with it and having fun, so 9. Making A Scene (Ex. No. 2): Okay, So here in this video, I wanted to show you what it would look like. As you go through the process of, um, editing a piece, like, kind of getting getting a part together. Um, So I'm gonna go through something where hopefully it only takes about four panels, but maybe takes a little bit more. So here we go. Um, this will be similar to the very first video where I talked about Sally going to the store . But I'm gonna say, um, Stan, um, goes to grab a red box animated movie. It's gotta be animated. Uh um. So as I go through this, I'm gonna think about what I want the piece to feel like. So let's say I'm gonna have an establishing shot, okay? This is not gonna take four panels. It's going to take several more, So I'm gonna go through and we're going to have very rough drawing. Say, this is a garage. Here's my establishing shot. If you remember, I was talking about that, and Sam had stand has a pretty ugly house. I was hoping that you could get the view this and we're going to see Stan sitting on the couch and his TV is bearing honesty's, um, let's say it's nighttime. So I'm gonna color the sky in and just make sure that it's clear that this is a nighttime scene and say that he's got his car in the drive and again, an ugly car. But we're just trying to get an idea across again. If this is animation, you probably wanted to be more detailed in this. Um, since you don't have characters or people that are standing in acting, you going to say this is Johnny Depp and this is Eva Longoria. I don't know if she's acting anymore. I'm seeing hearing something forever. Sorry, I take a lot of tangents. So you would go from this right here and, um, take your details and sort of put them into an idea. And again, I'm in the rough face. I want to see if this is working before you take it any further. So let's see, we're gonna go in the house. So this would be my, um, exterior, uh, stands house nighttime. So if you if you grab a script, you would see something like this and you would label this to match the scene so that it you see what it is? Um, so let's say we would see the side of his face a little bit since stand with his hair, um, his year and say he has a beard. He's got a really thick neck to He's impressive. Pretty muscular. Dude, It was gonna be a realistic cartoon. So he is trying to I'm the channel on his tube television because people still have those standing out. Yeah, and I'm just trying to go figure out if this is gonna work at all. There's his remote giving off a signal back was headed. Shaded is the TV. It's dark in his room. I understand. Make sure that Stan is inside. So interior shot Stan switching channels. So I'm gonna take this and an animation. I'm gonna go through that. That doesn't work. Um, and it's fine to do this toe go through into switch things around because they're not working. So it's let's see him and have stand right here. He's got his goatee. There's his nose animation. Um, when you have a major moment, you would take this. You move it over here, you say, here's the couch again. And here's Dan. So this is kind of like key moments. So see, his head is gonna tilt back. We're going to see all of that, see his beard a little bit when you see much more of his neck. He's clearly frustrated because he's not finding anything to watch. Maybe one more or less it. 12 three, three A. Because this is the same shot. It's just his motion that's changing. So he's frustrated that he's not finding anything to watch. So then we would take our next section and make a new letter, and now he's gonna get up, get up from his chair, and I'm gonna have this like the arrow. This is three B. He's got the remote in his hand on. He's so he gets up from his seat. He is ding and then you just see him whenever he gets. Let's say this is three D. Um, he's gonna drop the remote as he has given up on that. Let's just say this is a commercial for next looks or no looks. Red box. Hey is walking away getting his. So there you go. So he's walking across. He drops the remote him and drawn arrow just to make it clear. So called this. And so it's clear that it's the remote. Same thing that here I just want to make sure that there's not really any question. So if I'm not standing around whenever they have, um, the storyboard in their hands, they're not super confused about Wait, what was the skin? And I have to come find me and say, Hey, Isaac, what was that? I don't remember what you were trying to say there. That could be the worst thing, because if somebody has a plan, you don't have to ask everybody. How do you read that plan? How do you have that? Um, one? It just takes a lot of time. And to its it can get really frustrating really quickly. So you wanna have be sure that your pictures and your storyboards are so clear that somebody could read it without having you around, So make sure that everything is clear. Have a clear grasp of what's happening. Just make sure that people know this is his hand right here. So I have all of my key moments right here. So he is, and then we see, maybe we just see him walk out of the room and then to me, is next thing we see is the car backing up? See the car lights turned on. He backs out. And then so this would be shot. Four for a Maybe he backs up far enough. You can actually see his license plate. That be funny? Um, so let's say his license plate numbers MV G U. Why? Maybe it's immunity movie guy and I live in Utah now, So maybe it's Utah Utah plates movie guy. And then you see him driving a car. So you get those for and then you get to the next one. Remember the arrow because this is a continuing shot for be, um He then speeds away. There's a tree over there somewhere. We leave a trail of smoke because his car is terrible. All right, so then we have another establishing shot. You can always find a red box and McDonald's so we to see him pull in right here again. Super quick, trying to make sure that you can see some of the process of what happens. And then there's a slide. You got a big car thing and looks like an elephant. Let's say this is not McDonald's. It's my Gabor's Gavin's because those are both copyright. Don't want copyright stuff, so we'll just put a little G right there. I know that there we go. So it's MGI, Mick Gavin's. This is a big elephant toy thing and we see let's call this blue box. We'll try and avoid all the copyright stuff blue box so that I don't have to do that again . Just you right here. So come up. We see I want the blue box right here. So we see his car pulls up, man, he comes around. So then let's have an over the shoulder having over the shoulder shot of Stan. So Areas and he's looking at the screen on, sees all the movies. Then we can go to our next one, can use some of our perspective stuff like we're at the screen and his and then disappearing over this way. So let's see. So let's say he's super happy that now he's not all of these videos and movies to choose from. Get that big old smile right there. Yemenis yet the really awesome beard. Then we want to see his hand going for the video. So let's see. He'll be reaching out for it and let's say it is stands big day and sure sounds good, right? All right, So he's going to get that and he's about to hit the rent box so his hand picks up and it's moving in right there. Let's get an extreme close up here. Kind of build the excitement. Got a bigger smile in before then. I got another one every C, the rent button on his finger, getting closer number. Just going to say that it's a continuation and we see his finger push up against the button . Rent Man, your needs really, really excited. So he's overjoyed. He's about to get this movie, and then the big disappointment, we'll take one more shot out. So is expression changes drastically in a moment. So it does that. Let's actually make sure that he it was like gaping because he is just shocked. What just happened to me? And then the final shot will be the classic hands raised to the sky, shaking his fist of the sky knees on the ground, crying, See, is still awesome Beard. This would be another use of perspective. So we haven't done any camera moves with this, So I would say, Let's start up close. They were Just zoom out from right there. So it started Two corners here, connect the corners to the arrows, and then you zoom all the way out to sea that he's like, this little speck place. Maybe his cry was so loud that some birds started flying away. So you just zoom out and you see this whole scene right here? See the big elephant trunk thing? Big M MGI sign. There's a street parking lot. Drive through. Well, tree. So that might be how you go from the story. Oh, sorry. Okay, so you see the progression of the story, You see? Yeah, it works. Or you could say, No, it doesn't. I want to change the whole lot of things. I'm gonna go for it and just kind of figure out what works for me. What works for my story, And you don't have to put in right there. Sometimes it's look cliche sometimes. Maybe that's what you want for your story. You want a little humor sending and so you don't figure out what's going on after this left on a cliffhanger. So all sorts of things that you can dio, um, and just kind of have fun with it, Make sure that it's something that is yours completely from start to finish. Don't try and let too many different things speak into what you do with your storyboard. Um, unless you have a director on your wreck, you can do whatever you want. If this is your story, go and do it. Have fun with it, make it an awesome story. Play around with camera moves, play around with angles and play around with perspective and depth and elements and layout and everything else that we've talked about so far. There's all sorts of things that you could do. Be sure to include all the characters that you need. Be sure to include everything, um, so that you can go straight into your animation and not have to waste any time thinking about what do I need to do next? What would help this scene or what would make this better? You've already thought through all of that. That's exactly what a storyboard is for. So go on, have fun. Take if you need any suggestions for stories I have provided those in the description you can go through and storyboard your favorite story where I can give you a few sentences and let you run with it and have an idea. I'll go ahead and put those in the description, too. Enjoy it. Make it yours. So go ahead and jump on that project and enjoy it. Look forward to seeing everything that you guys make. Go for it. Happy animating. 10. Books, Books, BOOKS!: It's the first. I wanted to talk a little bit about some of the tools that you might use in animation. The 1st 1 being this right here, a light tracer or a light board. Hold on, turn like that and you can see through paper and really works well for traditional animation. Um, next would be, of course, paper and an easel. So getting some nice sketching paper can flip through it, work on poses. All that kind of stuff will be using this for this class. Getting a reliable easel is really good. So this is a really small one. About 50 bucks. You can get it at Hobby Lobby and then you can use 40% off. So get it for, like, 30 bucks, 20 bucks, something that, um, and some really great books. So, 1st 1 character animation crash course, this is a little bit more advanced. So if you want to continue, um, getting deeper into animation, you can work on that. A great beginner book is this one right here? Animation by Preston Blair. So if you need to remember his name Preston Blair, um, it would be great to get his cartooning book so not animation one. This one is pretty limited. If you go through, you can see some stuff. He even talked about a light board at the end. You saw that? Briefly, Um, character construction movement, maintaining mass, all the drawing, all that kind of stuff. Really great book for that. Um, another kind of master course type book. Is this one right here? The animators survival kit. I might have talked about this in past videos, but from beginning to end animation, just all of it. If you talk to any animator, they will tell you to get this book. Um, something has been really helpful for me. Making faces, talking about expression and characters. Quick flip through head construction. Sorry. Lips. So give me an idea of what you might see in that book. Um, action cartooning, talking about opposing characters, all that kind of stuff. Really great book by been Caldwell. Um, poses solid drawing. Good stuff. And finally, last but not least. And the topic of this class story boarding essentials by, um, Savannah College of Art Design Scad. You can go through here and get mawr in death. Details about story boarding. A lot of really good stuff and very helpful for any level of storyboard artists. Um, you can either work on paper or you can work on photo shop with a drawing tablet, highly recommend getting a drawing tablet. And if you do traditional working on pencil and paper, get a bunch of really good pencils, there's some baseline drawing figuring out stuff. So really good stuff right there. Um, if you ever get confused with pencils like I used to be, um, b is soft. H is hard. There's a four B pencil right there than be soft. The higher the B number, the softer it is, The higher the H number harder it is. Um, HB is the equivalent of a number two pencil. So if you ever stuck trying to figure out what numbers mean on that, you do that highlighting Prisma color. Excellent pencils. Um, I have I have a ton of pencils, all kinds of stuff that you can use for story boarding, various details, levels of finishing polishing. We'll cover a lot of stuff, so get that stuff if you don't already have it, and we will get started 11. Big Thanks!: everybody. I just want to say thank you so much for taking this skill share. Course, It was a whole lot of fun to make being able to teach you how to storyboard where storyboard is all the elements that go into a storyboard. Um, and these are just the basics. If you want more going, grab some of those books that I showed you before. Grow in, look up, stuff on the Internet. Maybe if you want some more, I can teach another skill share class. Um, feel free to check out the description and look on some of those things. I'll provide a link that you can go and give me some feedback. I really, really use a lot of my feedback. I used it to make this course and I used it to come up with scores. A lot of you guys really wanted a story boarding course. So I made that for you, but yeah, again, just thank you so much for taking this class. I've got a few others. If you're interested in animation, I'm teaching some animation classes under you coming up with more soon. A soon as I can. So keep an eye out for those. I hope that this was a super helpful course and that you will come back for more later share. Give everybody the link to this course because I love teaching and I love being able to see the stuff you guys come up with. So again, Thank you so much. I hope that it is helpful and that you can use it in future Happy enemy.