From story to the board - Animation Xpress.com

The session on Storyboarding by Sanjiv Waeerkar had a rapt audience with the erstwhile RMB fellow taking a novel approach to the art and idea of storyboarding. Sanjiv used comics strips as examples, right from the classic Calvin and Hobbes and Tintin to contemporary comic art.

The session began with TASI's Ranjit Tony Singh's caveat, "Storyboarding's not talked about too much, though it is a very important aspect of the creative process."

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"Comic art is parallel to storyboarding. In fact, one wonderful thing to do is read comics," went Sanjiv. Storyboarding is visual scripting. It is the reflection of the director's/ storyboard artist's vision of the feature. Through his presentation, Sanjiv stressed on the following points:

Describing one strip of Calvin and Hobbes, Sanjiv stressed on the point that every frame had the same camera angle but communicated excellently with the reader. "A simply placed camera," he said, "can do wonders with your scene." Neither is it necessary to add unnecessary cuts while animating. All this because it is necessary to follow an important rule: "to give the audience the time to understand a scene".

Establishing (and reestablishing) the shot is also crucial as the scene progresses. Various techniques like using eye-level camera angle and shading (used in silhouettes, etc) help directors and lighting team in executing a shot well.

This was followed by an interactive discussion on whether directors really need storyboards. Sanjiv said that the function of the storyboard artist was to 'imagine' the director's vision and convey it to the production team. "The story board artist brings the directors vision to paper so that production can take place," Sanjiv said. Storyboard are not absolute, they are subject to improvisation on the studio floor. Neither do they necessarily need to match a convention: for instance, they can be digital, non-static. Though, in outsourcing models, storyboards help keep schedules.

Summing up the discussion Sanjiv said, "Storyboarding is a tool that makes production easier… It's a good starting point."

Later, after some camera adjustments, Sanjiv did an impromptu live storyboard of Shivaji Maharaj's lieutenant Tanaji Malusare's capture of a Moghul fort. With the audience's intermittent applauding, Sanjiv doodled away a complete sequence of shots, explaining the creative process. Storyboard done and all Sanjiv declared, "While storyboarding, you end up doing formula camera angles… you should push the limits." The good stuff comes out half-an-hour into the process of storyboarding, he opined.

Excerpts from the Q&A:

Does one need to take references while doing storyboards?
It is a choice. If referencing betters your work, then go ahead. The important thing is your storytelling. You are the master, the director and you have to give a feel to a scene… it's up to you to add elements to your storyboard.

Is there a set format for a storyboard?
The basic rules of laying a story out on paper should be followed. Normally you draw left to right, like a comic because that is how the eye moves. Alternatively, you can go vertical. Apart from the illustrations, innovations like the depiction of action (by drawing two panels for the same scene) to help the production can be used.

What's the limit of the number of frames for a storyboard?
Suppose you draw too many drawings, the animator or the actor will just stick to the storyboard and you might miss upon the crucial value-addition from the animators. It is a choice you have to make.

mrigank.dhaniwala@animationxpress.com