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I don't believe that an exact correlation between the boarded and the filmed shots is necessarily a good thing. The storyboards are a point of departure; otherwise, they might corset the work on the set of director, D.P. and actors. For the purpose of offering a Board to Film comparison, though, I cherry-picked scenes in which the shots DID follow the boards verbatim. It is not the norm.


ALIEN RESURRECTION: Jean Pierre Jeunet's process includes very tight storyboarding. Watching his highly stylized films, you understand why.


STUART LITTLE 2 is a hybrid film with some animated characters. Rob Minkoff had it boarded as if animation, where boards are part of the animation pipeline. This scene was also pre-vised in 3D, but as you can see, the shots were locked at the storyboard stage.


CHARLIE’S ANGELS: FULL THROTTLE: In this Martial Arts Choreography done by Cheung Yuen and his Hong Kong team for director McG, each fighting move is choreographed to camera and can only be filmed or edited in that manner.


TERMINATOR SALVATION: This sample is only part of a longer shot, on which I take a lot of pride. The art is crude because the shot was meant to be fully pre-vissed. I have chosen to compare my thumbnails to the pre-vis itself (performed by Proof), rather than to the shot as filmed, because I like the staging better.

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Even in this day and age, 2D animatics can still complement 3D pre-vis work on the non visual effects shots. Here is a sample from a personal project. I animated my own 2D art in a 3D space in After Effects.

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Here are some samples of storyboards in slideshow format. I picked scenes from projects that never saw the light in which I like my artwork. Click on the right arrow to advance. In this format, it is not easy to tell when the camera is moving and when there is a cut.




This would be the storyboard document distributed to crew members, on paper or in pdf format. The pictures appear alongside the shot numbers (with indication of where the cuts are), a brief description, some times the dialog, and whatever information is relevant. Sometimes they are laid out with just a few frames per page, to see the artwork well, sometimes smaller, to see the entire scene at a glance. Sometimes they are mounted on a big foam-core board which is set on the stage in order to cross out the shots as they are filmed. Sometimes versions are made with the shots in continuity, or with the shots in shooting order.


My first contact with computer management of storyboards was in 1996, in Alien Resurrection (we used a purpose built FileMaker Pro template). Since 1999 I have been working in Storyboard Artist Pro software, made by Power Productions. Computers allow efficient management of the boards, marrying the art to shot numbers and description, managing revisions, and controlling the page layout of the printout.


Click Here to see a Board Sample of "We are Marshall"