
English: 
These are film credits! 
To switch to regular CC, go to "Settings"
The Sound Gun (2014)
Director: Kevin Senzaki
Video Game High School, “Being A Teen Is Hard, I Guess” (2014)
RocketJump
Creators: Matt Arnold, Freddie Wong, Will Campos, Brian Firenzi
Star Wars: Episode IV - A New Hope (1977)
Director: George Lucas
Indiana Jones and the Temple of Doom (1984)
Director: Steven Spielberg
Jurassic Park (1993)
Director: Steven Spielberg
Alien (1979)
Director: Ridley Scott
Jurassic Park (1993)
Director: Steven Spielberg
Terminator 2: Judgment Day (1991)
Director: James Cameron
Edge of Tomorrow (2014)
Director: Doug Liman
Goodfellas (1990)
Director: Martin Scorsese
Raging Bull (1980)
Director: Martin Scorsese

English: 
Hey guys, I'm Kevin. You might know me as the sound guy at RocketJump Film School,
But I've also storyboarded some of our shorts and shows.
I'm going to share some of the basics about storyboarding with you today.
Storyboards are illustrations that
represent the shots that will ultimately
make up a movie. They allow you to build
the world of your film before
you actually build it.
There aren't any strict, exacting rules on
how to do storyboards--
conveying information is what's important.
Storyboards are ultimately a technical document, a tool.
So it doesn't matter if you're skilled
illustrator or not.
This.... can work just as well as this.
Even if you struggle with perspective,
or can barely draw a stick figure,

English: 
you can still convey what types of shots you want, and their basic composition.
Who storyboards?
Typically, the director sits down with a storyboard artist to help articulate their vision.
However, it's not uncommon for cinematographers and production designers
to join in the process as well.
At RocketJump, I usually meet with the director,
and produce rough thumbnail sketches
that summarize the important
information in each panel,
and then afterward I'll fill in the details on my own,
meeting with the director once again after completing the panels to make sure everything works.
We'll then share the completed panels
with the rest of the team.
So let's break down the parts of a storyboard.
The panel, or frame, is a rectangle that represents
what the camera will see.
Panels come in a bunch of different shapes. Pick a panel shape that matches your shooting aspect ratio.
Square...
widescreen...
really, really widescreen...
A person drawn really small in the panel
is a wide or establishing shot.
A big head taking up half the panel is a close up.
REGAN [POSSESSED]
What an excellent day for an exorcism.
FATHER KARRAS
You'd like that?

English: 
Taxi Driver (1976)
Director: Martin Scorsese
The Rush (2015)
RocketJump
Directors: Matt Arnold, Freddie Wong
Star Wars: Episode IV - A New Hope (1977)
Director: George Lucas
The Grand Budapest Hotel (2014)
Director: Wes Anderson
The Big Lebowski (1998)
Directors: Joel Coen, Ethan Coen
Ben-Hur (1959)
Director: William Wyler
Gone with the Wind (1939)
Director: Victor Fleming

English: 
The Exorcist (1973)
Director: William Friedkin
The Birds (1963)
Director: Alfred Hitchcock
Beetlejuice (1988)
Director: Tim Burton
The Goonies (1985)
Director: Richard Donner
Indiana Jones and the Last Crusade (1989)
Director: Steven Spielberg
The Rush (2015)
RocketJump
Directors: Matt Arnold, Freddie Wong
Who Framed Roger Rabbit (1988)
Director: Robert Zemeckis
Jurassic Park (1993)
Director: Steven Spielberg
Inception (2010)
Director: Christopher Nolan
Video Game High School, “Being A Teen Is Hard, I Guess” (2014)
RocketJump
Creators: Matt Arnold, Freddie Wong, Will Campos, Brian Firenzi
The Mummy (1999)
Director: Stephen Sommers
Shutter Island (2010)
Director: Martin Scorsese
American Beauty (1999)
Director: Sam Mendes

English: 
(KEVIN/NARRATOR)
Deciding where you put the person your frame is the basis of your composition.
This may seem really basic, but this has a huge impact on how you prepare for your shoot.
These illustrations give your
cinematographer a starting point,
Things like camera angles, lighting, depth of field,
the whole gamut of decisions can
be informed by the storyboards.
It's also a great way to decide what you'll need out of your locations.
Do you really need a giant bottomless pit?
Or can you get away with one
visual effects wide shot,
and then cover the rest in tighter shots?
Okay! Let's talk about arrows!
So now that we have a panel with a character in it,
let's say that character is moving to
the left. By drawing an arrow
pointing to the left, we show where that character...
... or door...
...or dinosaur... is moving.
There's no real rule to drawing arrows, and everyone has their own personal style,
but what's important is that your arrows are easy to read, and make sense.
Here's some examples of arrows.
Arrows for characters moving towards camera.
Arrows for characters moving away from camera.

English: 
The Thing (1982)
Director: John Carpenter
Jurassic Park (1993)
Director: Steven Spielberg
There Will Be Blood (2007)
Director: Paul Thomas Anderson
127 Hours (2010)
Director: Danny Boyle
Empire of the Sun (1987)
Director: Steven Spielberg
Inception (2010)
Director: Christopher Nolan
Video Game High School, “Being A Teen Is Hard, I Guess” (2014)
RocketJump
Creators: Matt Arnold, Freddie Wong, Will Campos, Brian Firenzi
Lord of the Rings: The Fellowship of the Ring (2001)
Director: Peter Jackson

English: 
This character is kneeling down.
Aaaand this character's head is falling off.
Arrows within the panel usually mean a
subject is moving in the shot.
Arrows around the edges usually imply
some sort of camera movement.
So, here... the raptor lunges RIGHT...
... and the camera pans LEFT.
Now let's talk about camera movement.
Camera movement arrows also aren't really standardized,
but let's go over some common ways camera movement is illustrated.
Dolly movements are typically drawn with one arrow,
often narrowing a little bit
to suggest movement in or out of 3D space.
Both dolly shots and zooms can also be
illustrated by
placing arrows in all four corners of the panel.
This shows a widening...
...or narrowing... of perspective.
You can draw a panel within your panel
to show how far your dolly or zoom goes.
Clearly conveying information is key.
So it's better to over-explain, than to confuse people.

English: 
Pans are often shown with an arrow on
the side of the panel,
either pointing to the left... or to the right.
Tilts up and down are done much the same way,
except with the arrows at the top or bottom of the panel.
You can also elongate the panel to fit the entire shot in a single drawing.
Since this can get a little confusing, it's ok to make a note
indicating whether or not the shot is
tracking versus panning,
or dollying versus zooming.
because arrows are often used the same way in both instances.
You can make your notes beside the panel,
or in the arrow itself.
Sometimes you'll need more than one drawing to illustrate what's happening in a single shot,
especially if it's a really complicated action or camera movement.
When you take panels with angle,
composition, on-screen movement, and
camera movement, and then combine these panels into a sequence,
you have the foundation of your movie.

English: 
Family Plot (1976)
Director: Alfred Hitchcock
Mission Impossible: Rogue Nation (2015)
Director: Christopher McQuarrie
Hellboy II: The Golden Army (2008)
Director: Guillermo Del Toro
Indiana Jones and the Last Crusade (1989)
Director: Steven Spielberg
Troy (2004)
Director: Wolfgang Petersen
Starship Troopers (1997)
Director: Paul Verhoeven
Snow White and the Huntsman (2014)
Director: Rupert Sanders
Jurassic Park (1993)
Director: Steven Spielberg
No Country for Old Men (2007)
Directors: Joel and Ethan Coen
Troy (2004)
Director: Wolfgang Petersen
Inception (2010)
Director: Christopher Nolan
Indiana Jones and the Last Crusade (1989)
Director: Steven Spielberg
Terminator 2: Judgment Day (1991)
Director: James Cameron

English: 
RocketJump: The Show, “Truck Flipper vs. Bus Puncher” (2015)
RocketJump
Directors: Matt Arnold, Freddie Wong
Mad Max: Fury Road (2015)
Director: George Miller

English: 
Storyboards are particularly useful for
preparing scenes
that require multiple effects techniques.
For this scene from "Truck Flipper vs. Bus Puncher,"
we used storyboard to decide what was
going to be stunts...
... what was going to be practical, on-set special effects...
...what was gonna be green screen...
...and what was gonna be CGI, based on exactly
what kind of action was
needed in each specific shot.
Without planning ahead, a scene like this would have been impossible to shoot
in the amount of time we had available.
Storyboards are typically created based
off a completed script,
but if you're doing a story that's extremely visual,
storyboards essentially can be your script...
Like with "Mad Max: Fury Road."
Since it's such a visual film,  the beats
were more effectively planned out with pictures,
than with text on a page.
While this is an extreme example, this hold true
for preparing all visually complex
scenes.

English: 
There's also plenty of other
alternatives to storyboarding.
Stanley Kubrick used actual photos
from his location scouts
to find his compositions.
It's also worth mentioning that filmmakers
who've adapted comics and graphic novels
often use the original artwork essentially as storyboards for the final film.
You can make animatics of your sequences on your computer,
to include motion and timing.
You can also videotape your pre-vis,
which is really useful for complex action.
You don't need the actual set, costumes, or
or magical flying speeder bikes to test out your ideas.
In the original "Star Wars", George Lucas
used real WW2 documentary footage
to help pre-visualize the space battles.

English: 
Barry Lyndon (1975)
Director: Stanley Kubrick
Watchmen (2009)
Director: Zack Snyder
Sin City (2005)
Director: Robert Rodriguez
300 (2006)
Director: Zack Snyder
The Incredibles (2004)
Director: Brad Bird
Iron Man 3 (2013)
Director: Shane Black
Behind the Scenes, “London Brawling” (2015)
RocketJump
Director: Clinton Jones
Kingsmen: The Secret Service (2014)
Director: Matthew Vaughn
State of the Art: The Art of Pre-Visualization of ‘Episode 2’ (2002)
Star Wars: Episode VI - Return of the Jedi (1983)
Director: Richard Marquand

English: 
Animation has also been used to help
capture complex sequences.
"Jurassic Park" used stop-motion animation to
pre-visualize the dinosaur scenes.
When the decision was made to use CGI in the final film,
they had already planned ahead in painstaking detail,
and knew exactly what specific movements the CGI
was going to need to be able to do.
By the time Peter Jackson did the "Lord of the Rings" trilogy,
digital technology had developed to the point where
they were able to motion capture the cave troll sequence,
and then move a digital camera around in 3D space,
to pre-visualize the entire scene in a virtual setting.
There are no hard and fast rules, or one way to do it.
But the ultimate goal is planning and clear
communication.
So whatever tool is going to help you prepare and share your vision the most, use it!
It will pay off when you get to set,
and will help empower you to
make the best film possible.
If you have any questions, or would like to
share some of your own story boards,
please visit our forums.

English: 
State of the Art: The Art of Pre-Visualization of ‘Episode 2’ (2002)
Star Wars: Episode V -  The Empire Strikes Back (1980)
Director: Irvin Kershner
Making of Jurassic Park (1995)
Director: John Schultz
Jurassic Park (1993)
Director: Steven Spielberg
Lord of the Rings: The Fellowship of the Ring (2001)
Director: Peter Jackson
The Matrix (1999)
Directors: The Wachowskis
Hot Fuzz (2007)
Director: Edgar Wright
Apocalypse Now (1979)
Director: Francis Ford Coppola
127 Hours (2010)
Director: Danny Boyle
Who Framed Roger Rabbit (1988)
Director: Robert Zemeckis

English: 
Gladiator (2000)
Director: Ridley Scott
Alien (1979)
Director: Ridley Scott
Edge of Tomorrow (2014)
Director: Doug Liman

English: 
I'll see you next time guys.
...Hope you didn't get... "board!"
