Why are storyboards and shot lists useful / used on set ?
"Storyboards will help you visualise your film and determine the shots you need before you ever set foot on set" [1]
The storyboard acts as a planning tool as it details all the major shots, angles and actions that are outlined in the script. This helps to turn the script from a written idea into a visually composed narrative. Producing a storyboard with all the necessary shots for the narrative also helps to ensure you know how your shots work together which prevents any surprises when it comes to the edit (and realising that certain shots don't work together because you didn't map them out beforehand). Creating a storyboard helps to outline what sort of coverage is needed to ensure everything will be there and will work in the post-production element of the project. The storyboard also helps to point out any trouble spots in the scenes so that these can be worked through before the project goes into production.
The main purpose of the storyboard is to visualise the shots needed to compose the film - "the storyboard is important because it allows the director and cinematographer to visualise the shot and agree on where the camera goes". [2] This means it is a useful tool for both the director of photography and the director as it can be used to decide where the camera needs to be positioned in relation to the actors within the blocking of the scene so that the desired shots can be captured. This shows how the storyboard can be used as a communication tool between the members of the production team as it can be used as a clear display for both myself and the director to refer to in order to work out camera positioning within scenes.
Further to this, the storyboard helps to inform the shot list. The storyboard is a lot more time consuming and complex to create than the shot list as the process of visualising how the narrative will pan out from analysing the script is a difficult process. When creating the storyboard the elements to be considered are; [3]
- The rule of thirds - the characters should be drawn within the correct positions to accurately show where they will be shown within frame. The rule of thirds applies when filming so the storyboard should reflect this. If a character is supposed to be on the right of frame, they should appear on the line of the right third. If a character is supposed to be in the centre of the frame, they should appear in the centre third. If a character is supposed to be on the left of frame, they should appear on the line of the left third. This helps to accurately display framing and positioning within the shot.
- Foreground, middle ground and background - simpler storyboards tend to focus on the foreground but more complex storyboards can involve all of the above. These should be distinguished between with the use of shading or with abbreviated labelling (FGD, MGD & BGD).
- Shot angles - the storyboard will be made up of different types of shots. These should be clearly displayed in the drawings (i.e. close up shot types should appear to fill the frame more than medium shot types). Commonly used shots are; closeup, extreme closeup, establishing shot, long shot, medium shot, over the shoulder shot, panning shot, tracking shot, zoom shot. These are detailed alongside the pictures in the storyboard.
- What is the story about? - this decides what the shots should include and what action they are required to capture to make up the narrative. The storyboard artist should always consider the storyline to ensure this is being conveyed through the chosen shots.
- Who are the characters and what is their motivation? - their motivation dictates the blocking and framing
Once these have been considered, it should be easier to create the storyboard as the key elements to portray within the script should stand out. These key elements should then be taken and broken into the shots that are required to convey the necessary action and reactions. I will consider this when I create my storyboard. I have the advantage of having already created a storyboard in the pre-production unit which has allowed me to see what works in terms of visually conveying the narrative. I will use this to help create the updated storyboard - I am completely re-doing the storyboard as a lot of the content of the scenes has changed and, therefore, requires different shots to convey the new actions and reactions involved within the shots. This shows how any updates need to be analysed as this will call for different shot types to be used.
After the storyboard has been put together, the shot list can be formed. The shot list compiles all the details of the shots from the storyboard into a simplified list which outlines the shots that will need to be captured. The shot list forms a more objective list of what needs to be captured, rather than a visual representation.
As well as conducting this research, I have some research from my interview with DOP and editor Tom Baker who provided some advice in relation to storyboards and shot lists. The advice he gave was:
"Most of the time the storyboard (if you use one at all) is a guide or help sell the idea to the client. But the idea and shots always develop from there. Shot list is invaluable and one of the most important things. If you don't have a shot list, you forget ideas and key narrative shots to shoot." [Baker, 2019] [4]
This shows the importance of creating a shot list from your storyboard. The shot list guides you through the shoot and acts as a checklist of shots required to fulfil the narrative - without the shot list, important shots may be missed and, therefore, the narrative won't be conveyed as effectively.
Sources:
Further to this, the storyboard helps to inform the shot list. The storyboard is a lot more time consuming and complex to create than the shot list as the process of visualising how the narrative will pan out from analysing the script is a difficult process. When creating the storyboard the elements to be considered are; [3]
- The rule of thirds - the characters should be drawn within the correct positions to accurately show where they will be shown within frame. The rule of thirds applies when filming so the storyboard should reflect this. If a character is supposed to be on the right of frame, they should appear on the line of the right third. If a character is supposed to be in the centre of the frame, they should appear in the centre third. If a character is supposed to be on the left of frame, they should appear on the line of the left third. This helps to accurately display framing and positioning within the shot.
- Foreground, middle ground and background - simpler storyboards tend to focus on the foreground but more complex storyboards can involve all of the above. These should be distinguished between with the use of shading or with abbreviated labelling (FGD, MGD & BGD).
- Shot angles - the storyboard will be made up of different types of shots. These should be clearly displayed in the drawings (i.e. close up shot types should appear to fill the frame more than medium shot types). Commonly used shots are; closeup, extreme closeup, establishing shot, long shot, medium shot, over the shoulder shot, panning shot, tracking shot, zoom shot. These are detailed alongside the pictures in the storyboard.
- What is the story about? - this decides what the shots should include and what action they are required to capture to make up the narrative. The storyboard artist should always consider the storyline to ensure this is being conveyed through the chosen shots.
- Who are the characters and what is their motivation? - their motivation dictates the blocking and framing
Once these have been considered, it should be easier to create the storyboard as the key elements to portray within the script should stand out. These key elements should then be taken and broken into the shots that are required to convey the necessary action and reactions. I will consider this when I create my storyboard. I have the advantage of having already created a storyboard in the pre-production unit which has allowed me to see what works in terms of visually conveying the narrative. I will use this to help create the updated storyboard - I am completely re-doing the storyboard as a lot of the content of the scenes has changed and, therefore, requires different shots to convey the new actions and reactions involved within the shots. This shows how any updates need to be analysed as this will call for different shot types to be used.
After the storyboard has been put together, the shot list can be formed. The shot list compiles all the details of the shots from the storyboard into a simplified list which outlines the shots that will need to be captured. The shot list forms a more objective list of what needs to be captured, rather than a visual representation.
As well as conducting this research, I have some research from my interview with DOP and editor Tom Baker who provided some advice in relation to storyboards and shot lists. The advice he gave was:
"Most of the time the storyboard (if you use one at all) is a guide or help sell the idea to the client. But the idea and shots always develop from there. Shot list is invaluable and one of the most important things. If you don't have a shot list, you forget ideas and key narrative shots to shoot." [Baker, 2019] [4]
This shows the importance of creating a shot list from your storyboard. The shot list guides you through the shoot and acts as a checklist of shots required to fulfil the narrative - without the shot list, important shots may be missed and, therefore, the narrative won't be conveyed as effectively.
Sources:
[1] https://www.videomaker.com/article/c18/14584-the-perfect-plan-storyboard-and-shot-list-creation
[2] http://www.elementsofcinema.com/cinematography/shot-list/
[3] Hart, J (2007) The Art of the Storyboard : A Filmmaker's IntroductionNew York: Taylor & Francis Group
[4] Baker, Tom (2019) [Interview by email, 30th January 2019]
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