Storyboarding Your Film

Lesson 5/10 - Conceptualizing the Script

 

Storyboarding Your Film

 

Lesson Info

Conceptualizing the Script

Since this is we're talking about a story boarding your films right? They were going to take the approach that like, you know, this is like a personal film that you're the writer director storyboard artist on this for the purposes of this thiss part right here so we're gonna talk about like, conceptualizing your script right? So uh you got to get your information down on a piece paper somehow right? So let's think about like how you do it on super jail, right? That might be a good thing so you know, ultimately what visually you're going to want to do but you have to get something down on paper for so how do you go about doing that? I mean, usually the first thing I do is just write it right on the script yeah, but I mean even before you have a script you sit around with a couple of others and you bang a handy about usually usually what we do is we we either sit around we do it a little early bang around ideas at a table and we sometimes you'll come with something like this drawing of t...

his you might have a nugget of an idea like, you know he wants to build this ice cream mountain or something and you'll start, you know, kicking on ideas of this story and just basically start beating out the story yeah so let me ask you like uh, because I think this is, like, relevant like, if you know you're going to storyboard this thing, how much detail do you put in the script of, like, visually what you want to see? Do you d spell it all out? Or you kind of give, like and there's a crazy fight scene here with some gags? It depends on the writer because of a couple of writers, but usually, I mean, if there's specific jokes that we know we want to try to put it in there, but you don't want to explain every little detail or the script will be way too long, so I mean superheroes a weird example, but sometimes we'll have examples, but then sometimes well, right, like, you know, go nuts where we're superheroes, a show where we don't one hundred percent stick to the script, we add a lot of the humor and the jokes in the board stage two used tvb to be boarded and sometimes yeah, sometimes you put that in certain writers like yeah, like I find it's good it's like, ok what's gonna happen in the scene, this guy gets mad he's got to get to the other side of the jail or whatever it is in the thing so that we know he's here, this guy succeeded in his goal, this guy failed and stuff happens in the middle and there's a varying degrees of how much you want to write that out I suppose if you're storyboarding it yourself it's less important to write it all out if you're I have to work with other people maybe you get a little bit more specific I think it's kind of thing with us like if we have good ideas we know we like we'll throw it in there yeah but sometimes too with ours it's a themed fight so it might be like oh there's a fight in a kitchen and you know, there's lots of funny things happen with kitchen appliances or something such as the working at maybe throughout an example or two in this group and then later in the board can dictate yeah children I think sometimes to you know, we were talking about this in the break that sometimes you uh you think you're being really clear in the script and then you look at it later when you're handing it out like I understand what this means and you're like yeah, I guess that's not clear at all yeah sometimes humor especially like visual gag type humor jokes sometimes they're written and they sound funny but then later when you read it here like that doesn't really make sense it just sounds funny as opposed to something that's really clear defined like he he sticks the guy's head in the blender and it you know that's the joke but they that's not really a joke because then if you're bored are you going to make that funny and the joke might be we stick a guy's head in the blender that world's red but then to eyeballs air spinning around in it and that might be a funny visual that is goofy and funny but to describe all that is like yeah takes too long hard even say it right now do you? Yeah, I find it's like you know if you're if you're writing you know it's like every scene is kind of like a mini story right has little beginning middle and end so that's the most important thing I think to get across when you're conceptualizing the script you know it's like ok, we're talking about this page it's seen five or whatever uh so some screenwriting theories have that like plus minus thing you ever you probably think about that? I don't think it's too good to dig into that where it's like that is uh basically it's like if you're thinking about your scenes like if your index carding your thing right, you're tracking like going in and out on emotion will be low you know it is minus plus plus minus minus plus I think it's too technical the digging it doesn't really work it's like, hey, we're coming into this scene thinking it's going it's funny and it's going to go good, it ends on a down note. You go into the vaccine on the down? No, you come out on a positive note. I mean that's, like kind of like I don't know let's say that I don't think you want to dig into much about that, but I think the more important thing to think about is like you're kind of like beginning middle end of a scene so that, like you have your overall story of your film but each little scene you want to know what's important to know like, why is the scene here? What's the point of the scene? What is this character want to achieve your main characters? Goal in the senior. Whoever scene is about, do they achieve what they want in the scene? Do they lose? Are they said, are they happy or whatever? Good things to go in when you're writing and super good things to think about when you start boarding it. So I guess then, of conceptualizing your script, you end up with a page of a script, right? And then that's when you get into the boarding part.

Class Description

An inability to draw doesn't make storyboarding obsolete – no matter how simplistic and basic your stick figures are, you can still use storyboards as a guiding blueprint for your production. In Storyboarding Your Film, Chris Prynoski will show you how to develop simple, effective storyboards which allow you to tackle all kinds of filmmaking challenges.

Chris has used storyboards to develop his best-known works including, Metalocalypse, Freaknik: The Musical, and Randy Cunningham: 9th Grade Ninja. In this class, he’ll teach you how to use the basic tool of storyboarding to deconstruct a scene or sequence and how to implement the storyboard as a useful aid for both camera and crew. You’ll learn:

  • Which projects to storyboard
  • Alternative uses and mediums for storyboarding
  • Optimal tools and instruments for storyboard creation
  • How storyboards serve filmmakers

Chris and special-guest instructor, Christy Karacas (director of Adult Swim's Superjail!) will share both original and pre-existing storyboard examples to help ensure your own boards advance your project and act as a useful guide for other key collaborators. You’ll learn simple approaches that will make the creation of storyboards less intimidating and more inspiring.

If you are ready to incorporate more advanced techniques into your filmmaking, Storyboarding Your Film with Chris Prynoski will guarantee your next project is more polished, prepared, and cinematic.


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