SCRIPT LINGO, ACRONYMS, MOOD & TONE:

All storyboard artists and designers will at some point have to work with a writer or a script in the development of the storyboard. The storyboard artist must record in IMAGES what is happening in the WORDS, and it is very useful to know about scriptwriting and story structure when storyboarding. If you want to know more about characters, twists, flashbacks and sub-plots, get a good book. For some SCREENWRITING texts, refer to bibliography.

How many people read comic books and imagine what “SQUELCH!” sounds like, or what “ZOOM!” looks like in slow-motion? If we study the design of comics we recognize many principles of writing for storyboards and interactivity. Comic book and magazine readers turn formatted pages to view sequential imagery and graphics that are presented in a series of individual frames or pages, reading text in boxes and balloons that carry dialogue, actions and thoughts.

In a comic script, all of this must be written in an objective, almost editorial form, to convey all of the ideas as simply as possible to the artists, inkers, letterers and colorists, so that everybody has a clear and uniform grasp of the project.

The COMIC BOOK script and visuals (sorry - I need to upload the visuals) exhibit dynamic angles/framing/lighting, a range of lenses, and a bookcase and bloody window to locate us. The stylish flaming sword arcs across the top of both pages, mirrored by two exterior window shots below, which contain a FORESHADOWING device (we are outside) that enhances the climactic explosion of glass.

Note: these details aren't written in the script, but are the input of the artist. The storyboard artist needs to recognize all of the story elements when they occur in the script - and then emphasize them in the visuals. How does the motion within one frame connect with the next frame - how does it effect the overall LINE OF ACTION?

When planning storyboards, consider the MOOD & TONE most appropriate, what atmosphere and 'look' is used to 'set the scene' that the characters will inhabit, what filters and optical effects. When changing the tone or mood, consider two points; comedy is light, and tragedy is dark. 'Light' colours like yellow denote cheerfulness, optimistism, summertime, etc.

Red reads as dangerous, dark passions. Aim for a subtle use of colour, to create soft, yet lustrous intensities. Save the blatant, strongest colour for the strongest image, a peak moment in the script.

The lighting of scenes is very important to mood and tone, and there are many tools available:

• KEY LIGHT is most often used in the close-up; it can be diffused or harsh light and is the main source of light on the actor.

• Two key lights create a CROSS-LIGHTING effect, causing two shadows (visually awkward).

• FILL LIGHT softens facial shadows; a reflector positioned below the actor's face and the camera.

• RIM LIGHT is mounted behind the actor, to highlight and separate them from the background.

• A small EYE-LIGHT directly in front of the actor's face can give a lively highlight to the eyes.

Consider the key light, fill light and rim light, experiment with reflectors, filters and coloured gels. Try partially blocking the light source with a Gobo or Koukalaris (a cookie; small holes cut in a piece of cardboard) to create atmosphere with broken patterns and textures of light.

Different LENS LENGTHS also effect the perception of an audience. Determine what lens to use as the audiences POV; wide-angle and telephoto lenses cause distortion, a normal (50 mm - the industry standard) lens does not, showing pretty much what the human eye perceives.

Identify different lenses and what kind of distortion they make - example lenses: 0 (Zero Fisheye) to 20 mm are very wide-angle, up to 50 mm about normal – over 70 mm is telephoto. Zoom means that 12 mm to 120 mm equals a 10 to 1 'Zoom-In' ratio.

Keep in mind that wider angles (28 - 35mm) make the scene emotionally colder, grander, distant, enveloping, strong and unfriendly. Telephoto effects (or Zoom, 75 - 150 mm) tend to flatten the image, adding intimacy, softness, closeness and friendliness.

If everything in shot needs to be in sharp focus, then indicate greater depth of field (DOF). Become accustomed to this movie/scriptwriting jargon; e.g. Cut, Fade Up/Down, Dissolve, Super (superimposition), Matching Action, Jump Cut, Wipe, Freeze Frame and Iris In/Out.

Storyboards should include descriptions about:

• Lens Length: The different optical effects applied to different shots within a scene.

• Shots: The basic unit of film and TV, theoretically of any length, cut to make a scene.

• Scenes: Connected shots that make up part of a sequence.

• Sequences: Shots and scenes related by time, place and situation.

• Intercut: Inserting shots/scenes from one location into a sequence located elsewhere.

• Parallel Action: Cross-cutting two separate scenes, presented as simultaneous events.

• Flashback/forward: Shots or sequences inserted into the narrative to evoke the past/future.

Describe the different kinds of shots to be used:

Establishing
Long, Medium & Close-Up
Low Angle, High Angle
One Shot (One person)
Two Shot (two people), etc.
Under-Expose or Over-Expose
Fast Motion or Slow-motion
Rack Focus Out/In - (Pulling focus,
from foreground object to background,
or background object to foreground).

If appropriate, include camera directions and formal scriptwriting acronyms in your notations or labels:

Pan Left/Pan Right
Tilt Up/Tilt Down
Dolly or Track (Forward/Reverse,
Left or Right, Crane or Boom High/Low)

LS = Long Shot
CU = Close-up
SO = Sound Over
VO = Voice Over
FX = Sound Effects
OS = Off Screen.

Make storyboard notes about Lip-Sync dialogue, special sound effects or music. MOS (Mute), Voice Over, or Wild (asynchronous tracks) add different characteristics to images. Use Split Screen (SS) realistically; showing simultaneous action, or to enhance detailed close-ups - or more abstractly, to create super imposition, conflicting picture planes and special effects.

Become familiar with these acronyms and meanings and make careful storyboard labels to record your intentions. Also, make notes under the storyboard frames indicating if the camera is looking up or down on its subject. Looking up creates a threatening perspective, suggesting power. Looking down, the subject becomes weaker, less significant.

Where is the horizon located within the frame? Look for expressive angles and eye-lines.

THE EYE AS “I”: In interactive games, the players, who are potentially viewers, navigators and authors all at once, not only see the graphics (the eye), but also participate (the “I”) in shaping the way the story unfolds.

Of course, the gaming experiences are programmed with every facet of interaction planned in advance and manipulated by software. It is not a linear medium, the player is actually in the game and no two users will ever have the same experience.