The document provides an overview of the 2D animation process, beginning with story development and storyboarding. It describes how storyboarding involves translating a film script into a visual representation through a series of story sketch panels. This serves as the blueprint that will guide the entire production process across 20+ departments. The summary also outlines the typical equipment used in storyboarding, such as pencils, paper, a desk, and reference materials. It notes that 100 storyboard sketches are typically created for each minute of film. Finally, it mentions how a story is developed to fit a movie's duration and refined into a storyboard, model sheets, and timing chart to complete the design phase.
The document provides an overview of the 2D animation process, beginning with story development and storyboarding. It describes how storyboarding involves translating a film script into a visual representation through a series of story sketch panels. This serves as the blueprint that will guide the entire production process across 20+ departments. The summary also outlines the typical equipment used in storyboarding, such as pencils, paper, a desk, and reference materials. It notes that 100 storyboard sketches are typically created for each minute of film. Finally, it mentions how a story is developed to fit a movie's duration and refined into a storyboard, model sheets, and timing chart to complete the design phase.
The document provides an overview of the 2D animation process, beginning with story development and storyboarding. It describes how storyboarding involves translating a film script into a visual representation through a series of story sketch panels. This serves as the blueprint that will guide the entire production process across 20+ departments. The summary also outlines the typical equipment used in storyboarding, such as pencils, paper, a desk, and reference materials. It notes that 100 storyboard sketches are typically created for each minute of film. Finally, it mentions how a story is developed to fit a movie's duration and refined into a storyboard, model sheets, and timing chart to complete the design phase.
The document provides an overview of the 2D animation process, beginning with story development and storyboarding. It describes how storyboarding involves translating a film script into a visual representation through a series of story sketch panels. This serves as the blueprint that will guide the entire production process across 20+ departments. The summary also outlines the typical equipment used in storyboarding, such as pencils, paper, a desk, and reference materials. It notes that 100 storyboard sketches are typically created for each minute of film. Finally, it mentions how a story is developed to fit a movie's duration and refined into a storyboard, model sheets, and timing chart to complete the design phase.
Building the storyboard is an integral part of putting together an animated feature. The process provides not only a visual interpretation of script; it also allows designers in each department to get a feel for what is being presented on screen.
Creating the visual story composed of consecutive story sketch panels that depict the action and staging of the film’s script is the first step in the animation production process. Twenty or more departments converting ng them into a final full color film, will build upon the concepts and timing initiated here. The storyboard is the basic game plan, the vision of continuity that will drive the entire production Storyboarding involves working from a film script to set a story down in picture or illustration form; rather like a comic book. The storyboard functions as the blueprint of an animated picture. The following is a breakdown of the story-sketch artist’s set up, and the thought and drawing processes involved.
3.2 EQUIPMENT 1. Pencils: whatever the individual feels comfortable with. Anything from a HB to a 6B depending on the quality of the line and darkness of shadow required. 2. Paper: 8.5 x 11, standard white. 3. Field guide: story sketches are drawn to a standard 8-field size (5.5 x 10.52). This is traced down on paper and represents the screen edge all production artwork is finished out to the edge of the paper. Wide screen projects will have altered field sizes and measurements. 4. Xerox machine with variable size capability: it is frequently necessary to enlarge or reduce artwork to specific sizes, both to save time and for cutting purposes. Final approved boards are enlarged or reduced to proper production sized. 5. Desk: any comfortable desk will suffice. An animation disk is not necessary, though backlight is sometimes useful. 6. Pin-up board: for displaying sketches in continuity. 7. Push Pins: to pin up sketches 8. X-Acto Blade: for cutting Xerox copies before revising. 9. Erasers: plastic or kneaded soft eraser the plastic for getting rid of drawings completely, the soft for lightening lines. 10. Model sheet and reference as needed 11. Chair 12. Overhead Light 13. Pencil Sharpener
It is also important to keep your work area neat and easily accessible. Keep the desk functional and as uncluttered as possible. Reference material should be pinned up or displayed for use as you draw. 3.3 THE STORY BOARD:
Smooth visual flow is the major objective in any film, especially if it is an animated one. Good continuity depends on coordinating the action of the character, choreography, scene changes and camera movement. All these different aspects cannot be considered in isolation. They must work together to put across a story point. Furthermore the right emphasis on such planning, including the behavior of the character, must also realize. The storyboard should serve as a blueprint for any film project and as the first visual impression of the film. It is at this stage that the major decisions are taken as far as the film’s content is concerned. It is generally accepted that no production should proceed until a satisfactory storyboard is achieved and most of the creative and technical problems that may arise during the film’s production have been considered.
There is no strict rule, how many sketches are required for a film. It depends on the type, character and content of the project. A rough guideline is approximately 100 storyboard sketches for each minute of film. If, however the film is technically complex the number of sketches could be double. For a TV commercial, more sketches are produced as a rule because there are usually more scene changes and more action than in longer films.
When developing the storyboards, careful attention was paid to budgetary and creative constraints designated by the client. Any solutions that allowed for greater efficiency and better use of the budget without hurting the quality of product were worked into the storyboard, while constantly aiming for increased action and over-all coolness. The storyboard process was critical, as it would fine tune the story and serve as a point of reference throughout production. Major corrections and story change took place during this phase of the project to avoid making them during vital parts of production down the road. Once the storyboards had been approved, they were scanned and taken into Final Cut Pro to be edited into a 2D animatic. The editing of the 2D animatic is where we first took a swing at the trailer’s timing… roughly depicting the camera motion, as well as the actions of the characters. Whether from original concept or by buying the rights to a book, a story must be developed to fit the proposed duration of the movie. This in turn will be refined into a storyboard. A storyboard shows sketches of the envisaged movie, each of which represents perhaps 4-5 seconds of action, with the dialogue shown against each picture. A shooting script and timing chart are also normally produced. Model sheets are also prepared. These show the major characters in different poses, from various angles and with a variety of expressions. They will also show the coloring to be used. In effect, the model sheet is the nearest an animator usually has to a sculpture of the character. The model sheet is used to fix in the animator’s mind how the character moves and what it looks like. This completes the design phase…
