Story Boarding

The story board allows you, and other people who are looking at it, to see what will be in the film. They allow the film maker to pre visualise their ideas and refine then in the same way a script writer refines their ideas through a succession of drafts. It also serves as the clearest language to communicate ideas to the entire production team eg. camera operators, actors (anyone who is working on the film).
For a story board, you will need include:
- shot type --> e.g.. wides shot/long shot, medium shot, close up, extreme close up, low angle, high angle. USE A WIDE VARIETY OF SHOTS
- camera position --> Use arrows to show zooming into a shot or zooming out.
- details about dialoge, camera action
- camera position - high camera angle, low camera angle, level camera angle, long shot
- Use action quotes - e.g. numbers on the clock flick to 6:39 am -- e.g.. point of view from the door way.
illustrating camera movement/action
--arrows
--time lapse
--zoom in box

Pan: A steady, sweeping movement from one point in a scene to another.
POV: (point of view shot): A shot which is understood to be seen from the point of view of a character within the scene.
Reaction Shot: A shot of someone looking off screen or a reaction shot can also be a shot of someone in a conversation where they are not given a line of dialogue but are just listening to the there person speak
Tilt: Using a camera trip, the camera moves up or down to follow the action
Zoom: Use of the camera lens to move closely toward the subject
Close-up Shot: A close range of distance between the camera and the subject
Dissolve: A transition between two shots, where one shot fades away and simultaneously another shot fade in
Fade: A tradition from a shot to black where the image gradually becomes brighter is a fade in
Jump cup: A rapid, jerky tansition form one frame to the next, either disruption the flow of time or movement within a scene or making an abrupt transition from on scene to another.

A storyboard is an illustrated version of the script in a production. The director will use it as a first visual draft of what should be done in a film or a television series. The storyboard is a very effective way to communicate what a director wants in their project. A script can be interpreted in many different ways, but a storyboard doesn’t leave much place for interpretation.

In animation, the storyboard will contain all the important information needed for the production:

• A basic idea of the layout

• The script

• The dialogue

• The duration of each scenes

• The camera move if there is any

• Character or element actions

• Sometimes even mood or colour.

What’s in a Panel?

A panel is one specific action or moment in a storyboard. One drawing is one panel. You will find all sorts of information in a single panel.

The Action

The action is what is going on at the moment in the storyboard. The character or characters poses should be clear and to-the-point. Arrows can be used to help explain what is going with the action also. (for example, if a character is walking in a certain direction, you might want to use an arrow to show the path)  

Action Notes

Action Notes are extra information to help understand what is taking place in the storyboard. Not every panel has notes but there should be enough so that no one is confused by what is going on in the board.

Dialogue

Dialogues (if there are any) should be included in the specified box. Simply copy the dialogue from the script and paste or type it into the dialogue box.

Arrows

Arrows are a clear way to indicate to the viewer what is going on. They can be drawn in all sizes and directions to show perspective in movement. Use them as often as you need to make your storyboard clear.

Panel Annotations

Panel Annotations as shown in the above example are important. Sometimes, they are put inside arrows, sometimes just like here, inside a circle. This is up to the storyboard artist. Characters coming in or going out of a panel should be clearly indicated as this makes a big different in a scene.

Camera Moves

Camera moves should also be included in the panel. A camera move should be marked as shown in the above image. You should have the first frame for the starting point and the second frame for the ending of the move. Then arrows can indicate the direction of the move.

What’s in a Scene?

A scene is contains panels. It can have one panel, or many. All panels in a scene will have the same background and each panel will have different actions in it, so that when you watch them in an animatic, it will look animated. The images above are a good example, notice how the framing of all the panels are the same, but the wolf and the house each have actions that, when put together, look like they are animated?

Camera Shots

If you plan on creating storyboards, you will need to learn about the different camera shots that you can use in your scenes. The following is a list of some commonly used shots. Start with these, then, do a little more research to learn about new shots and try to integrate them in your future storyboards.

The Establishing Shot

The establishing shot lays the groundwork for the context of a scene by showing the relationship between the characters and their location. It is usually used to indicate where a scene takes place.

The Long Shot

The long shot is used to show the entire object or character and puts it in some way in relation to its surroundings. Unlike with the establishing shot, the long shot will not necessarily show the full scenery around the characters. It is used to show what is going on, not where the characters are located.

The Medium Shot

There are many definitions for the medium shots. Depending on whom you might talk to, it will slightly vary. But the medium shot usually is a mid-shot view of a character (from the waist up).

The Close-Up

The close-up is when a scene tightly frames a character or an object. This shot will show a lot of details about the subject for rarely includes any background element. Such a shot will suggest emphasis on the character’s emotions or a very specific detail that is important to the story.

The Extreme Close-Up

The extreme close-up is a magnified view of a small object. That object will usually fill the entire screen, this way the audience can only focus on that element and nothing else.

Camera Moves

The following are three basic camera moves you can use in your storyboard projects. • Zoom In • Zoom Out • Pan Camera moves are used to direct the audience to the important part of your scene. You can hide elements that you might not want them to know about right away. It can also give a whole new perspective on a scene or a situation by revealing an important part of your scene.

Zoom In

This type of camera move is when the camera moves in from wider shot to closer shot. (for example, from a medium shot to a close-up). Depending on the speed of the camera move, it can either bring a lot of action to a scene or slowly direct the audience to a specific detail in the scene.

Zoom Out

The zoom out is the opposite of zoom in. Instead, you will go from a closer shot to a wider shot. (for example a close-up to a medium shot). This type of move can be very quick or slow.

 Pan

In animation, the pan is the horizontal or vertical movement of the camera. The pan is often used so that your audience can view across a wide panorama that doesn’t fit in the camera frame.

Staging the Action

Staging which is a term taken from theatre, it refers to placing the characters at the ideal position on the stage so that the story events are clear. In animation and storyboard, staging will refer to trying out different arrangements on paper to find the best presentation for a scene, so that it is clear and dynamic. A great way to stage a scene is to create a little diagram like the image above. An overview of the whole set will allow you do have a clear idea of what you should see in the panels you will draw in your storyboard.

 Show, Don’t Tell

Remember that animation is a visual medium. You shouldn’t depend on the dialogue to explain what is going on in a scene or in the whole story. The viewers will understand quicker if you can clearly show what is going on, instead of actually having a character say what is going on.

Here are some examples of visual cues you can use to explain elements in a story:

• Use the character’s surroundings to explain what kind of person he/she is. A messy room will tell use about their personality. Or maybe he is artistic with paint and craft material around? How about a geeky character with a computer room and posters and books lying around?

• Remember that an action will can say a lot. Instead of having a character say: “I am going out to the grocery store”, have him go out, then cut to an establishing shot of the grocery store.

• Use clever shots to show a character’s emotional state. If you look up at a character he will seem imposing. A character that is very small in a large empty field will seem completely lonely and isolated from the world.

• Showing the reason why a character is scared will have more impact than just saying the character’s emotion. If the character is terrified of falling, you might want to show the edge of the precipice.

from another source

Group Idea making

Locations (2)
- Forrest/Wood
- ???

Quotes Incorporated into the movie:
- Famous star wars quote 'I am your father'
- Mean girls quotes ' she doesn't even go here'
(add to comedic side to the film)

Plot Idea:
- The princesses find out the prince is cheating on all the princesses and the same time and they not only get mad at act other, but also the prince. They begin to try to kill him, at the same time fighting each other violently so that they are the one who gets to murder him

Possible POWERS!
Aurora - falls people asleep
Belle - Turns people into objects and objects into people

6 Characters
- Ariel
- Cinderella
-Prince
-Belle
-Aurora
-Little Boy (in bloopers)

'Once Upon a Time' or 'Happily Ever After'
In blood -zoom out, its ketchup

Black Horror / Comedy (I will further discuss the theme in another post)
A musical? Break out into song during the film (Could be included in bloopers)

The film must be approx 3 minutes - 3 to 4 pages of script

Editing :

--> Slow motion (matrix style) - when weapons are thrown
--> Black and white flashbacks
--> Focus change whilst the princesses are running
--> Saturation Levels (revise with Mrs Preston - Mrs Preston, If you read this can you please comment on what my group will have to do with this, Thanks)

Sound :

--> Battle scene (high intensity music)
--> Loud sound effects - eg. Twigs breaking under feet/ leaves rustling
--> Side scene - no sound or elevator music

Cinematography :

--> Close ups of prince
--> Fur on his face
--> Close ups of princesses body parts running - to show high level action
--> Lighting is dark due to forrest blocking out sun
--> Camera moving with girls

Mise En Scene :

??????

Protagonist and Antagonist

The protagonist is the main character in a story, novel, drama, or other literary work, the character that the reader or audience empathises with. The Antagonist opposes the protagonists.  Some famous antagonists and protagonists include:

- Dark Vador and Luke Skywalker
- Harry Potter and Voldemort
- Cinderella and her Step mother
- The Dalmatians and Cruellade Ville
- Peter Pan and Captain
- Snow White and the Queen
- Ariel and Ursula



Protagonist drives the plot forward.

Antagonist tries to stop him.

In the Story Mind, the Protagonist is the Prime Mover of the effort to achieve the Story's Goal. The Antagonist is the Chief Obstacle to that effort. In a sense, Protagonist is the irresistible force and Antagonist is the immovable object.

In our own minds, we survey our environment and consider whether or not we could improve things by taking action to change them. The struggle between the Protagonist and Antagonist represents this inner argument: is it better to leave things the way they are or to try and rearrange them?

The Protagonist represents our Initiative, the motivation to change the status quo. The Antagonist embodies our Reticence to change the status quo. These are perhaps our two most obvious human traits - the drive to alter our environment and the drive to keep things the way they are. That is likely why the Archetypes that represent them are usually the two most visible in a story.

Functionally, the character you choose as your Protagonist will exhibit unswerving drive. No matter what the obstacles, no matter what the price, the Protagonist will charge forward and try to convince everyone else to follow.

Without a Protagonist, your story would have no directed drive. It would likely meander through a series of events without any sense of compelling inevitability. When the climax arrives, it would likely be weak, not seen as the culmination and moment of truth so much as simply the end.

This is not to say that the Protagonist won't be misled or even temporarily convinced to stop trying, but like a smoldering fire the Protagonist is a self-starter. Eventually, he or she will ignite again and once more resume the drive toward the goal.

In choosing which of your characters to assign the role of Protagonist, do not feel obligated to choose one whose Storytelling qualities make it the most forceful. The Protagonist does not have to be the most powerful personality. Rather, it will simply be the character who keeps pressing forward, even if in a gentle manner until all the obstacles to success are either overcome or slowly eroded.

When creating your own stories, sometimes you will know what your goal is right off the bat. In such cases, the choice of Protagonist is usually an easy one. You simply pick the character whose storytelling interests and nature is best suited to the objective.

Other times, you may begin with only a setting and your characters, having no idea what the goal will turn out to be. By trying out the role of Protagonist on each of our characters, you can determine what kind of a goal the nature of that character might suggest.

By working out an appropriate goal for each character as if it were the Protagonist, you'll have a choice of goals. Developing the plot of your story then becomes a matter of choosing among options rather than an exercise in the brute force of creating something from nothing.

http://storymind.com/content/68.htm

Developing Plot

A plot is the organised pattern or sequence of events that make  up a story. Every plot is made up of a series of incidents that are related to one another.


1. Exposition - beginning of story
This usually occurs at the beginning of a short story, Here the characters are introduced. We also learn about the setting of the story. Most importantly, we are introduced to the main conflict (problem)

2. Rising Action - beginning of story
This part of the story begins to develop the conflict(s). A building of interest or suspense occurs.

3. Climax - middle of story
This is the turning point of the story. Usually the main character comes face to face with conflict. The main character will change in some way.

4. Falling Action - end of story
All loose ends of the plot are tied up. The conflict(s) and climax are taken care of.

5. Resolution - end of story
the story comes to a reasonable ending.

A story is roughly composed of exposition, conflict, rising action, climax and denouement. Something has to happen in the story (or at least give the viewers the feeling as though something has happened). Things like conflict and resolution achieve this effect.

An event in a person's life

The most important thing about a short story plot is that it should be about and event in a person's life. The reader is drawn into a story by identifying with the central character, and it is this identification which should hold his attention all the way through. A finished story may well have a general meaning, such as: 'love will find a way' or: 'appearances can be deceptive', but it is not practical to set out with the intention of creating a story to illustrate such a message. We must start with a person - a person facing some kind of predicament, and work out the story in those terms.

A unifying theme

But it is also important that a plot should have a unifying theme - a purpose, to hold it together.
If the plot is what happens in the story, the theme is what it means, what it is about; not in a general sense, but in terms of the specific struggle in which the central character is engaged. Without a theme a plot becomes episodic - A happens, then B happens, then C happens, etc. without a sense of purpose or direction.
The theme is the backbone of the story, and should form an unbroken link from the beginning to the end. If you are developing a story, and not sure where it should be going, a consideration of the opening, or the proposed ending should reveal the theme and help you pull it together.
The opening paragraphs of the story should establish a situation which is unstable, which contains within it the necessity for change, and the ending should show the results of that change, and the achievement of some form of stability. The nature of the initial instability should be mirrored in the finally achieved stability, and the connection between them is your theme. So you should be able to see the opening of your story reflected in its ending, and the ending reflected in the opening. If you cannot then the story hasn't yet gelled, and won't yet work.
In some cases you may not be able to define your theme in words, it may be just a feeling, and the story may well be an attempt to capture that feeling. There is nothing wrong with this, in fact it may be the way the best stories are conceived, but even if you can't define the theme you must have a sense of what it is. It must be there as the raison d'être of the story, giving it direction and holding it together.

Conflict

The progress from opening to ending should be logical, but not straightforward. A simple situation of instability resolving into stability does not make a plot. A conflict between opposing forces is needed, and should be integral to the theme. The conflict can be between the central character and other characters, between the central character and his circumstances, or between conflicting desires within the central character.
The conflict does not have to be violent or arouse extreme passions, nor does its nature necessarily have to be obvious or clear-cut. It can be as subtle as you like, but it must be there, holding the reader in suspense.

Suspense

Suspense does not mean we have to think in crude melodramatic terms - with someone's life being at stake, some injustice being done, or someone betraying someone else. It simply means the reader should be held in a state of anticipation, always feeling something is about to happen and always eager to find out what it will be. An economical style of writing plays an important part in this, but is not enough on its own. Whatever the nature of the ideas you are working with it is essential to establish a sense of forward momentum right from the start, and to keep up the pressure all the way through. Even the subtlest stories keep the reader wondering 'What will happen next?' A plot is about movement and change and, in however subtle a form, suspense.

Structure

A short story needs a simple structure. There is no room for the complex development of sub-plots we get in most novels, plays, and films. We are dealing with a single important event in a person's life. In my 'First principles' the list of six points gives a simple skeleton structure for a plot, and another useful way of thinking of structure is in terms of:

before - turning point - after

The turning point is a decisive action taken by the central character - before shows the circumstances leading up to that decision, and after shows the consequences.
When planning the shape of a story remember that we are not trying to reproduce life as it actually happens from day to day, but to distil a meaningful pattern from it. So the episodes should not be chosen to illustrate the way life really is, but to illustrate the key points in the pattern.
At the same time we know that the best stories feel as if they are real, and good writers achieve this by selecting just the right details from reality to stimulate the reader's imagination into constructing picture of the whole.

The Climax

At the climax of the story the conflicting forces which have given the story its energy since the opening come together and reach breaking point. Something falls away, or reverses, a decision is reached, and things are not as they were before. The circumstances which gave rise to the original instability no longer prevail. The central character's horizon has shifted and, at least for the moment, the way forward is clear.
Give your central character an active role.
A strong plot has the central character in an active role - he does something to try and resolve the conflict. It is never enough just to have the central character in a passive role, as a victim of circumstances beyond his control.
I would suggest that the pattern of the central character's action and its outcome could follow one of two fundamental courses:
1) The central character struggles against limitations, and makes a breakthrough towards fulfilment.
2) The central character struggles against limitations, fails, and changes direction.

Setting

Your initial conception of a story will almost certainly come complete with the setting. The setting is the world where the characters live, and will reveal itself as they move through it. It rarely needs much consideration on its own. A setting may well inspire a plot, and be an important element in the story, but it is never a substitute for a plot. It is people, their actions and their feelings which make a story.

Conclusion

In conclusion, some important points to remember in constructing a good plot are:
1) Make sure you are starting with a person, and not an idea.
2) Make sure you have a clear understanding, or clear feeling, of what your theme is.
3) Keep the theme in your mind right from the beginning, and only bring in episodes which contribute directly to it, and move the story towards its resolution.
4) In the selection of specific incidents and details adapt reality to fit the story, not the other way round.

Bibliography

http://fictionwriting.about.com/od/shortstorywriting/a/shortstoryrules.htm

http://www.literature-study-online.com/creativewriting/plot2.html

Character Profile Worksheet

Character Profile Worksheet

Basic Information/Statistics

Name: Ariel	Age: approx 17 years old
Current Residence: Prince Eric’s Castle/Atlantic Ocean
Occupation: Princess	Talents/Skills: Good swimmer/singer

Physical Characteristics:

Height:	Weight: 80kg (mermaid) 50kg (human)
Race: Atlantic	Skin Colour: Pale
Eye Colour: Blue	Glasses/Contact Lenses: No
Hair Colour: Bright Red	Facial Shape: Square
Distinguishing Features: Her red hair, bright blue, large eyes, distinguishing appearance,
Style (Elegant, shabby etc): Her style is Elegant, she is a princess so she wears amazing gowns
Dress/Clothing: Sea shell bra, Pink dresses
Mannerisms: She is curious about everything
Hobbies: Swimming/Singing/ Collecting objects from the human World/Venturing into strange and dangerous places – she loves adventure
Favourite Sayings: ‘My father’s gonna kill me’, ‘don’t be such a guppy’ & ‘your not getting cold fins now, are you?’
Speech Patterns: (straight to the point, long winded)

Emotional Characteristics

Strengths: Making friends, caring

Weaknesses: Not following the rules, not choosing sensible decisions, falling in love easily

What motivates this character? Her love for Eric

What frightens this character? Ursula, her father, King Triton, when he is angry

What makes this character happy? Love and discovering new things

Introvert or Extrovert:

What is this Character’s Goal?

Intellectual/Mental/Personality Attributes and Attitudes

Educational Background: Music

Character's short-term goals in life: To become human

How does Character see himself/herself? Someone who is capable of falling in love, not a child

How does Character believe he/she is perceived by others? As a child, incapable of falling around, untrustworthy

How self-confident is the character? She is confident, not dealing with self-esteem issues

Does the character seem ruled by emotion or logic or some combination thereof? This character is rulled by emotion, she doesn’t realistically think her plans through as much as she should

What would most embarass this character? Her father publically yelling at her

Best Characteristics: Her loving personality

Worst Characteristics: Not thinking things through

Does the character have any prejudices? No she is against that, she doesn’t follow her fathers prejudice towards human, who he sees as dangerous fish eaters

Additional Notes on This Character:

Title Ideas

Today my group discussed title ideas for our movie, some of which include;


- Hunting Season
- The Dark Prince
- The Prince of Darkness
- Once Upon A Time
- Beast
- Forest
- Prince Harming
- Prince Hunting
- A Darker Side To Disney
- Dark Disney
- Black Disney - this could work in well as the genre this film will be is dark comedy



The chosen title in the end which will be picked will have to be serious, so the comedy side will be a surprise to the audience. Titles such as Dark Disney and Prince Harming were favoured upon the ideas.

A darker side to Disney

I have discovered a website which contains some disney characters in a dark light. Here are some images of the Princess' that will be portrayed in the story:

Belle:


Aurora:


Cinderella:


Snow White


Ariel:

Images Found of the Princess' at War

Source: http://unrealitymag.com/index.php/2011/05/23/when-disney-princesses-go-to-war/

Ariel

Cinderella

Snow White

Aurora

Unfortunately, among the pictures I found, there was not picture for Belle from 'Beauty and the Beast'. However there was other popular princesses such as Jasmine, Pochahontous and Tatiana.

Weapons of Princess'

An idea was thought up that there should be 5 Disney princess' (Snow White, Sleeping Beauty, Ariel, Cinderella & Belle) who had weapons that they could use to try to stop each other from killing the prince.
The weapons would include

Snow White --> Poison/Exploding Apples
Sleeping Beauty --> Trips People Over
Ariel --> Sword Fish (unsure of her weapon)
Cinderella --> Glass Slipper, Breaks on a tree to use to attempt to glass people
Belle --> Throws books at people

I will elaborate on each weapons in further posts