storyboard templates (files attached)

Randall_Oelerich

Randall_Oelerich

Veteran
I put together two storyboarding template sheets to print out copies of, draw storyboard scenes on, put in a 3-ring notebook for filming. Going to OfficeMax soon to print out copies. I am attaching them to this message posting for any other filmmakers or storyboard artists who might be able to use them.

One sheet has two boxes 1.66:1, the other has three boxes 2.35:1. Both have a line below each box for labeling the scene or page, etc.
:beer: Randall
 

Attachments

Everybody is welcome! I just printed off a bunch at a local print store, printed to white cardstock, off to punch 3 holes in them for putting in a 3-ring notebook. I figure I can start learning basic storyboarding for directing; on the special features 'making of' featurette for "The Return" (Sarah Michelle Gellar) I saw the storyboard stuff in a notebook, and the storyboards looked pretty fricken simple, almost stick figures.
 
You still have to draw your storyboards though before storyboarding in Celtx (with Toon Boom you can digitally sketch or import sketches, but even though I am a technophile I am also an artist and nothing beats the freedom of intially sketching with pencil/pen and paper/cardstock I think), the templates are made for printing, sketching on, then scan into Celtx or Toon Boom if desired. Or print out storyboards from Celtx and paste onto template printouts, put in 3-ring notebook.

Beware of Celtx, it is usually a bit buggy, I have tried it on both Windows and Linux. I prefer Movie Magic Screenwriter but of course that costs money and does not have storyboading. I am going to sketch out my storyboards, maybe scan them into Toon Boom, play with, then print back out and paste onto the templates on cardstock.

Stussey said:
I've found celtx(http://www.celtx.com/) is a good all in one and it's free.
Click to expand...
 
Why 1.66:1 ratio? that's a Euro TV aspect. 1.85:1 is the most common theatrical aspect (60%) and then 2.39:1 (scope) is the other (40%) of produced releases.

Plotting out blocking placement (camera/subject) using Overheads is helpful in production as storyboards also. They compliment one another. If I had to choose between storyboards and overheads, overheads would win because they are crucial to spatial placement and organizing each shot. Overheads can also include light placement, key, fills, back, BG, kickers, etc... and then one can include light intensities "candle light" readings on them during production for record keeeping, just in case the scene needs to be reshot. Overheads also show movement of subjects and camera. They will end up looking like a complex messy football locker room planning board for each scene, only understandable by those who created them.
 
I was wondering about the 1.66 myself. And the 2.35 since it's defunct.

Of course I understand about overheads but I'd vote for storyboards first. That final, surgically, artistically composed shot whether a still or including subject/foreground/background/camera movement and the choreography associated is what the audience sees.

Randall, are you shooting HVX? You'll save time having to draw in frame lines if you just print out 1.78 frames.
 
I am going to practice storyboarding some scenes from The Return that I did screen captures of off the DVD, that movie was shot in 2.35:1
http://www.imdb.com/title/tt0433442/
Same for 1.66 and some other movies. But I can tweak the storyboard sheets tomorrow to make a couple of other aspect ratios, pretty simple tweak to do and post as new PDF docs.


10s said:
Why 1.66:1 ratio? that's a Euro TV aspect. 1.85:1 is the most common theatrical aspect (60%) and then 2.39:1 (scope) is the other (40%) of produced releases.

Plotting out blocking placement (camera/subject) using Overheads is helpful in production as storyboards also. They compliment one another. If I had to choose between storyboards and overheads, overheads would win because they are crucial to spatial placement and organizing each shot. Overheads can also include light placement, key, fills, back, BG, kickers, etc... and then one can include light intensities "candle light" readings on them during production for record keeeping, just in case the scene needs to be reshot. Overheads also show movement of subjects and camera. They will end up looking like a complex messy football locker room planning board for each scene, only understandable by those who created them.
Click to expand...
 
I like the shameless plug material, -- how else will people find these type of available resources? It's OK to bark yur wares guvnor! I like the layout, plenty of white space margin for notes.

Personally I'd want an accompanying overhead for each SB, so I could graph out all blocking, lighting, electrical, audio, etc... The problem becomes how to cram all this information into a small two page space that one can actually haul around on set without needing a electron-microscope to read it.

Just add in the action lines and dialogue from the screenplay and you'll have the basic lay of the land.
 
Though I hate to ask this, but does anyone have an example of a standard storyboard template filled out? I am really curious how they look when fully filled out. And I mean the ones that have the panels, then the side panels for "overhead view." I'd really just love to see a credible example of how to do it.
 
Moleskine makes a storyboard book which I have used for its size, quality and convenience.

there are two panels on each page. plus the back half of book are four smaller panels per page.

only drawback is that aspect ratio is 4:3. not sure why they do yet produce a 16:9 version.

but one can convert to 16:9 with two lines drawn on panel.
 
You must log in or register to reply here.
Back
Top