STORYBOARD
Storyboards are a hand-drwan version of the movie and serve as the blueprint for the action and dialogue. Each storyboard artist receives script pages or a "beat outline", a map of the characters' emotional changes that need to be seen through actions. Using these as guidelines, the artists envision their assigned sequences, draw them out and then "pitch" their work to the director. Over four-thousand storyboard drawings are created as the blueprint for the action and dialog of a feature-length Pixar animated film. They are revised many times during the creative development process.
Storyboards are used to create story. A storyboard originates from written word; for example from a script. A storyboard artist takes the written word and draws it into pictures. The pictures are then taken and pinned on a board, a storyboard. After all the pictures are pinned to a storyboard, the artist then pitches it to the director. The artist wants to give a sense of what this movie could be like and tries to bring it to life.
The aim of a storyboard is to get a feeling of what the story could be like as a final film. The storyboard artist attempts to convey what it would feel like to watch the film in a cinema.
The aim of a storyboard is to get a feeling of what the story could be like as a final film. The storyboard artist attempts to convey what it would feel like to watch the film in a cinema.
The following video explains what a storyboard is and the process of storyboarding by a storyboard artist. It also shows us a storyboard pitch, where an artist is pitching his storyboards to a group of Pixar employees. The video then compares a storyboard to the finished product; demonstrating the influence and importance a storyboard has on the final product.
TOY STORY - STORYBOARDING AND PITCH
JOHN LASSETER ON STORYBOARDING
The following quote from John Lasseter, the Chief Creative Officer at Pixar, illuminates the importance of storyboarding to creating a successful film.
In animation, it is so expensive to produce the footage, that unlike live action we cannot have coverage. We can’t do multiple takes of a scene. We don’t have extra handles, we don’t have B-roll, we don’t have any of that stuff. We have one chance to every scene. So how can you possibly know you’re choosing the right thing?
What we do is we edit the movie before we start production. And we use storyboard drawings to do that. We quickly get away from the written page and the script, and we really develop the movie in storyboards. A comic book version of the story. And we do it the way Walt Disney did it. We have 4×8 sheets of bulletin board material, and we pin up drawings and we pitch them to each other. To see how things flow.
And when something seems to be working great then we’ll go on to the editing system and we will make a version of the movie using the still storyboard drawings. And we’ll put our own voices in it as scratch voices, we’ll get temporary music from some soundtrack album that has the right emotion we want, and put sound effects in there. And we can literally sit back in a screening room, press a button — no excuses, no caveats — and we just watch the movie with still drawings.
I will never let something go into production unless it is working fantastic in that version with the still drawings. Because no matter all the great animation you can do will never save a bad story. We will work and rework and rework and rework these reels — sometimes thirty times before we let it go into production. We’re really adamant. We’ll even slow the production down or stop production to get the story right because we believe that it’s the story that entertains audiences. It’s not the technology. It’s not the way something looks. It’s the story.
- John Lasseter
Here are some storyboards from a number of different Pixar films:
Tidak ada komentar:
Posting Komentar