Simple Explanation: A comic-book visual blueprint for a film, presenting the final shots captured by the camera in sequence;
Core Positioning: Visual shooting planning, not elaborate illustrations, decorative paintings, or a complete script;
Key Principle: Simplicity is perfectly acceptable; clarity of visual information is the primary standard; Negative Example from Courseware: Storyboards with messy lines and chaotic shot order are completely ineffective. A qualified storyboard requires concise individual frames, intuitive actions, and smooth narrative.
Each frame must answer three basic questions, none of which can be omitted:
1. Visual Content: Who is in the frame, what is the scene, what props are there, and what are the characters' expressions?
2. Actions in the Frame: The actions and movements happening in the frame.
3. Emotional Atmosphere: The emotions conveyed by the shot (tension, fear, humor, shock, etc.).
(Storyboarding Professional Film Visual Language)
1. Shot Size – Controlling the sense of distance between the audience and the characters
• Wide shot: Fully displays the environment and space;
• Medium shot: Shows the character's physical actions;
• Close-up: Highlights the character's emotional expressions;
• Extreme close-up: Focuses on details and small props.
2. Angle – Changing the emotional meaning of the same action with different angles
1. Essence: A rough preview clip generated by sequentially editing static storyboard artwork, adding duration, simple animation, and sound effects; the interface includes four core modules: Timecode, Playhead, Panel, and Audio.
2. Positioning and Differentiation: Not the final animated film, but a pre-production testing tool; Formula: Static Storyboard + Edit Duration + Visual Animation + Sound = Animated Storyboard.
3. Core Function: Makes the story visually appealing from the outset, exposing narrative flaws early on, and significantly reducing post-production costs.
-Core Concept: Pacing and Shot Duration Pacing is the soul of dynamic storyboarding; most problems for beginners stem from an imbalance in pacing.
1. The Correspondence Between Pacing and Emotion:
• Short shots: Fast-paced, suitable for tense, urgent, and explosive scenes;
• Medium shots: Regular narration, everyday actions;
• Long shots: Quiet, emotional expression, suspense building.
2. Shot Length Reference Standards (For beginners only, no hard and fast rules):
• Use shots longer than 6 seconds with caution, as they easily create a dragging viewing experience.
Project 3
We will make our animation according to our script.
My Story Setting:
The story explores grief, perseverance, and personal growth. It shows that memories do not disappear when we move forward. True love is carried in our hearts, and home is not only a place, but also the courage to continue living.
Lin Wan is a quiet and introverted girl who lost her parents at a young age and was raised by her grandmother. After her grandmother passed away, she lived alone in their old house, treating every object her grandmother left behind as precious memories.
When she learns that the house will be repossessed unless she pays the overdue fees, she begins collecting recyclables and making handmade dolls to earn money. Through these hardships, she gradually learns that protecting memories does not mean living in the past, but finding the courage to move forward.
Focus on drawing these scenes:
- Lin Wan's grandmother passed away; Lin Wan returned home via the elevator.
- Received a notification about the apartment.
- Sewing dolls.
- Collecting bottles.
- Setting up a stall.
- The ending.
Thumbnail views of the animation sketches (viewed from bottom to top)
Thumbnail
Detailed storyboard production
After showing my storyboard to the professor, he gave me several suggestions: the elevator shot needs to be from a direct angle; some scenes with disjointed transitions can be deleted; avoid changing angles unnecessarily in certain places; and close-up shots could be added.
After the teacher reviewed my first storyboard, I made revisions. Ultimately, I drew 50 storyboards based on my sketches and the story content.
Animation and transition design:
First, I put all my landscapes together to make a continuous animation. Then, to help the audience better understand the content of my animation, I added narration to my video.
To add narration, I used the Jianying software because it has AI voice-over capabilities; you just need to input the text to get the voice-over.
These are some narrations I added:
-After my grandmother passed away, this old house became the only place that still felt like home. Every corner, every object, carried her memory.
-Then one day, I was told that if I couldn't pay the overdue fees, the house would be taken away.
-There is no money left at home. So I try my best to work hard. Sew handmade dolls at night. Collecting recyclables during the day, I can only eat the cheapest food when I'm hungry. I can't give up.
-To earn more money, I started selling my handmade dolls at the market.
-Little by little, my hard work finally paid off.
-I finally realized that home isn’t just a place filled with memories. It’s the courage to carry the people we love into the future.
After adding the narration, I added some sound effects.
Film Studies & Cinematography Cai Zihan / 0378043 Film Studies & Cinematography/Bachelor of Design in Creative Media / Taylor's University Project 1 TABLE OF CONTENT INSTRUCTIONS LECTURES FEEDBACK INSTRUCTIONS <iframe src="https://drive.google.com/file/d/1_oG56wkWOwQ4ZViMYS3xXoBqSGORi5km/preview" width="640" height="480"></iframe> LECTURES Week 1 Activity 1 Watch Pixar SparkShorts “Purl” 1) Describe your EMOTIONAL journey when watching the short? At first, I felt both relieved and heartbroken. Since Purl had just joined the company, she was trying very carefully to fit in with the others, going out of her way to change herself just to blend in—it was pretty heartbreaking to watch. Later, when she met someone like her and dared to be herself again, I felt warmed by it too. My emotions shifted from curiosity to empathy and then to a sense of healing—it really struck a chord. 2) How can you RELATE with your own personal experiences? Do...
IMMERSIVE VIDEO PRODUCTION Cai Zihan / 0378043 IMMERSIVE VIDEO PRODUCTION/Bachelor of Design in Creative Media / Taylor's University TABLE OF CONTENT INSTRUCTIONS LECTURES Project 1 FEEDBACK INSTRUCTIONS <iframe src="https://drive.google.com/file/d/11bZ5iqwIfSGH6c_sXOvySRQZOWJisj2O/preview" width="640" height="480"></iframe> LECTURES W eek 1 Description: Filmed using an omnidirectional camera, this video offers a full 360° field of view. Key Feature: Viewers can freely choose their viewing angle, unlike traditional videos with a fixed perspective. Week 2 Traditional TV / Film: Viewers are accustomed to flat, rectangular screens from a young age and tend to overlook aspect ratio constraints. 360° Video: By eliminating the screen borders, viewers are immersed in a virtual scene. VR (Virtual Reality): A 3D immersive environment generated by digital technology. Week 3 The visual composition relies on a fixed frame, and the audience can only pe...
9/2025-1/2026 Cai Zihan 0378043 Motion Graphics and Compositing / Bachelor of Design in Creative Media / Taylor's University TABLE OF CONTENT INSTRUCTIONS LECTURES Minor Project FEEDBACK INSTRUCTIONS <iframe src="https://drive.google.com/file/d/1cTlG4mkJYxh4XwW5zLmleQS2fAkgJ6x8/preview" width="640" height="480"></iframe> LECTURES This is a multidisciplinary collaborative learning module, designed to assist students in creating industry-related documents and prototypes based on the production process of the creative media industry. The submission will be a complete project proposal and a proof-of-concept prototype, positioning the creative solution as a unique industry-related proposition. Students need to collaborate as mixed groups with other classes from different core disciplines to design solutions to problems. The mixed student groups will work collaboratively in a studio environment and independently, identifying, analyzing, and appl...
Comments
Post a Comment