EXAMPLE - THE PERFECT CRIME:

(Sorry - I need to upload visual examples)

Read the following script page. Notice the simple thumbsketches in the margins of the page, and then study the two versions of the storyboard. This sequence was designed in conference with the director to follow the action that takes place between the characters Cardiff and Mary.

As noted in the script, Cardiff walks down the corridor, goes into his office, switches on the lights and goes to his desk, all the while being stalked by the revengeful Mary, who eventually confronts him, gun in hand. The entire scene is observed by two assassins, one with binoculars, the other holding a rifle, seen through the windows of an office building opposite.

The scene was broken down into the basic shots, attempting to capture the intense flow of action that would build up to Mary's threat to kill Cardiff. Initially, nine shots were needed to tell the story visually.

Going from shots one to nine, study the sequence of action in the first storyboard version:

Shot 1: Pan shot of Cardiff moving along the corridor to open his door, at a slightly low angle (Mary's POV).

Shot 2: An over the shoulder shot of Cardiff as he turns on the office light.

Shot 3: He throws his coat down, moves to the bar, the window, the desk and tape deck.

Shot 4: Cardiff in MGD, in doorway (Mary's POV) as her gun hand intrudes, frame left.

Shot 5: The gun barrel slowly advances from left into centre frame, wide-angle CU.
Cardiff looks up.

Shot 6: Cut to CU of Cardiff, it freezes.

Shot 7: Mary and Cardiff in two-shot CU 'facing off'.

Shot 8: Cut to CU of assassin in window opposite with binoculars, the other aims his rifle.

Shot 9: CU of Mary and Cardiff framed in binoculars (assassin's POV).


In the second version of the sequence (sorry I can't upload the illustrations), changes were made for clarity:

Close-ups of Cardiff turning to Mary were added in shot 6, a medium shot (MS) of Mary in shot 7, another CU of the gun in shot 8 to the two-shot of them in shot 9, before the medium CU of the gun through the binoculars in shot 10.

So in the final storyboard, frame 1 is a pan shot; the stationary camera pans to follow Cardiff down the hallway to his office door. Another pan is used in shot 4, as the camera follows Cardiff from an MS FGD shot as he goes to the bar and then his desk.

Note the variety of shots/angles as Mary and her gun enter in frames 6/7. He notices her in shot 8 and turns in her direction. In shot 9, the low angle MS of Mary is from Cardiff's POV, a lower angle looking up at her. The CU of the gun to their medium two-shot, POV of the assassins in frame 11. Frame 12 is a zoom in on one of the assassin's faces, tilting down to the rifle.

A variety of angles and movements are used to project the tension and emotionality of this conflict, with enough detailed information for anyone to get a clear idea of what's happening.

Each member of a development team must be familiar with how best to mix and match different areas of the process with their creative skills. This requires an equal effort from everybody.

Make notes and thumbnail sketches to refer to during and after the early discussion meetings.

Finish the storyboards properly and you've essentially created the project; it just needs to be made. Some marketing people use storyboards to secure development and production finance; they can become the goose that lays the golden egg.

In this case, the boards must be of a highly finished standard, but mostly the storyboard is simply a guide to follow during production.

Be inventive; if your approach to storytelling is analytical from the start, the results can be stiff and sterile. Trust the right side of your brain, be true to your personal style and express yourself in every image. The audience will see your passion and generosity, and appreciate it.