What are the core principles of a good storyboard?


What are the principles of good storyboard desing?
How does the principles of sequential storytelling, usually reserved to comic books,
apply to it?
How accurate should it be?
When filming how much should a animator stick to it?

Looking forward to your comments and ideas.



Where the similarity ends between boarding and comics is with the former the camera’s motion, lens, placement in the set, continuity between board frames, etc. is held more in focus (pardon the pun) than in the latter. Whereas in comics, the artist doesn’t have to be as rigid or logical in and between comic panels. In other words, not as conscious with the camera’s pov.

Sometimes viewing a storyboard sequence is boring because making a dramatic statement is not quite what it’s about. It’s visually “dry”, unlike in comics (with the exception those by mediocre artists :slight_smile: ).


this is a very interesting topic … though i have no experience to provide any accurate input, though what Pinoy McGee said makes sence, as in that storyboards are just a logical, step by step guide for animators/directors etc to guide them to make the actual action. though, with comics, the action is conveyed, i think, through extream attention to detail, after all, the artist has to make you believe that action is actually occuring.

i think it should be sequential, maybe even more accurate than a comic book, but not too constrained as to not leave any chance of deviating to something better, after all, i imagine during the actual production, someone (director/animator/producer) might get a better idea, so if it is indeed better, then why not use it?

that’s what i think about it … and am very interested in the professional opinions of … well, professionals :smiley:


The best way to approach a storyboard is to think like this:

Let’s say for example you have created a story and now want to direct it into an animation. And let’s say that for some reason, you’re unable to communicate with the animators during the production, and the only way you can make the animator understand what is in your head is by providing storyboards for them. Of couse, the storyboard can’t convey 100% of what you want, but you’re going to try to get it as close as possible–and that’s what a good storyboard does. It convey’s what’s in the director’s head as accurately and as transparent as possible. The animators shouldn’t have to guess or be confused by it–they should be able to follow the storyboard and come up with something that’s not too far from what’s in the director’s head. The storyboard should convey the camera placement/movement, character actions, speed of the movements…etc.

What’s even better than a storyboard is making an animatic out of it. That conveys timing and movement a lot better.


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