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Current time:0:00Total duration:11:50

Video transcript

now that you've had some practice with framing staging in motion it's time to put everything together and draw some storyboards as we mentioned earlier there is no one right way to approach storyboarding to give you a feeling for how I approach it let me demonstrate in ratatouille there was a moment where the restaurant critic Anton ego sits down to order food at Gusteau's at the start of the scene Mustafa the waiter seesee go into the restaurant and approaches ego nervously to take his order as the ego tries to give his order Mustafa doesn't understand what he wants ego stands up abruptly makes his order clear and then sits back down here's my thought process for boarding that moment so I want to sort to think in terms of shots you know storytelling shots where I'll draw simple frames and I'll try and figure out what's a good composition to set up what egos trying to do right egos trying to assert himself ego doubts the restaurant so egos in a position of power so I might start with something like maybe I want to see ego in an upshot maybe I don't know if that works so I'm just gonna keep exploring I want to find something that feels interesting to me you know I know I want a shot like this I need to have a setup where maybe ego is gonna be by himself and then maybe there'll be other tables around other people you know having a good time whatever it is I just want to make sure that ego is the center of focus to be logicals Beck's whatever it is you know if I push them back further and made him seem bigger than the table which is another thing I can do it's kind of like what they did with Clint Eastwood you know they make the doorframe smaller to make him seem bigger I might want to do the same thing so even if I had tables around people are gonna seem relatively small compared to the tables or at least maybe more in scale but that's only because I want to make sure ito seems like he's the biggest and maybe I'll kind of bring in some sort of framing device to allow me to go okay all we look at his ego see so I frame him nice I said maybe I'll use that shot so I'm gonna leave this with me but also check by it for myself now I need to figure out more of what else can happen I know that a waiter is gonna come in with stop is gonna come in at some point so I maybe what's the dynamic between them maybe at one do you have and I'm drawing really rough here just because I want to keep things simple you know it's it really important when you draw characters to you know ego is kind of like like a spike of some sort of right maybe a vulture he's all black with the you know basically a white kind of oval head like that and we stop it was the other character in the scene is a little bit more you know doughy a little bit more round and blocky so when I go ahead and draw them later I know that when I'm drawing my simple shapes that this is something that I want to utilize so I can keep my drawing simple maybe I need enough shot so I'm gonna try this and what I do in an upshot is I'll maybe I want to have live stuff a kind of cowering a little bit heads kind of in his shoulders maybe he's holding his hands even though it's enough shot which we've talked about being at a position of possible dominance I can flip that meaning that I can now use size as a way to show dominance maybe I want to go over egos back altogether and make him occupy most of the frame and therefore when I draw the stuff up I might have him even though it's an upshot I'm gonna have him a little smaller in the frame giving ego all the power of the frame right it's a very uncomfortable frame I kind of like that I don't know if I'll use above the market because I kind of like that so I haven't over for him so now I need what's called a complementary shot and that is when you have an over you want to have a shot that is the other side of the conversation and by over I mean over the shoulder now I need to compliment that right I don't want to change it and go okay now I'm gonna stop on the flip side is not gonna be big and ego is gonna be small I don't want to do that because that switches the power it's confusing and I need to be clear and I want to compliment that shot am i over the shoulder so instead what I might do is something like this and this is just me thinking so maybe what I'll do is I will give eco more space even though he might be smaller I'm gonna give him more space and give Mustafa less I want to now find my climax so to speak for my scene and essentially when I'm in front of the climax what I'm looking for is I'm looking for that moment that changes the scene you know there's a spike right if when we learned earlier the story structure goes as this we start the character starts here goes through obstacles to a point or a climax and then there's the resolution right every scene is similar to that we want to find that change so to speak so the change I'm have in this scene is that there is a miscommunication between Mustafa and ego ego gets frustrated and has to get into his face or do something to get his attention that shifts the power dynamic you know that we know that he's in charge and so for this instance I think that what I want to do is not be tricky you know I don't want to be upshot you know comes in a camera up like this where maybe he'll stand up in a frame you know where the camera might move up with him and the frame would look something like this so so he looks very you know dramatic you know as a 1 to 2 the shot you know he stands up in the frame he looks dynamic something like that oftentimes feels good but it doesn't quite connect and I needed to be simple and clear and so oftentimes like we talked about simple and clears is the right medicine and for instance I think that if I was just doing a side shot if I have my two characters like this something like this maybe what I'll do is I'll kind of go ahead and have Mustapha stay neutral but I'll have ego get in his face all right so he's gonna move up and get in his face and maybe even cowers a little bit because but stuff was already afraid of him everyone's afraid of ego and a quick movement like this can really change the scene without being overly tricky so I think I'm gonna stick with that and on top of that what I might do is actually punch in which is to go in a little bit closer and now show maybe your staff up with ego so I would really want to continue that action so I really want to make sure I emphasize and again this is just a punch in which means I'm taking this setup that I have and I'm just framing a little bit closer and I have to redraw it but what the input it does is it gives us emphasis right so as soon as he moves we're gonna cut and we're gonna finish that move in this close up because now we go from just the action of you know ego moving up to actually seeing the expressions continuing that action so when ego moves in the frame and makes Mustapha lean back a little bit we're gonna see Mustapha go from something like this to something like this and that's my change I think that I want to stay really simple because I don't need to be overly ambitious with this things it's very simple scenes so that is gonna be my climax that's the big bill that's that's what I'm gonna build - so now that I've put together a few shots that I like what I want to do is find that progression so I need to have an intro and I think for this instance since I've established that centered shot of ego I think I'm gonna stick with that and so my beat of that might be is maybe most off of unknowingly looks to the camera or looks kind of towards camera and gives a big sigh like oh no I have to take this guy's order you know I need to show him move so he's gonna move away in this shot he's gonna start to walk towards ego he's gonna have his head in his shoulders he's very nervous right and he's gonna move in towards ego so now this is where I might use camera movement so I'm just gonna block a shot that I like that that makes sense to me now I may not use it later but I'm gonna try so maybe I'm gonna go ahead and approach maybe some sort of side shot where stuff was walking towards ego and he's gonna meet up with him and get into a position something like this he's gonna go up to take his order I established a way that I wanted to shot something like this I'm gonna have a go kind of domineering in the shot it's gonna be an up shot as he takes his order ease like take your order now I need that complimentary over that I talked about earlier and maybe I have something like this where I have Mustafa and I'm just slightly over his shoulder but I'm gonna give a lot of screen space to ego so the next one I go to is have ego actually looking at him but what I'm thinking about doing is actually pushing past Mustafa meaning that the cameras gonna start to move in closer to ego and Mustafa is gonna become out of frame maybe because I want to emphasize something he's saying and he might be saying you know I think the dialogue I might have heard was you know I need to order I want perspective and so maybe you want to go closer now I'm gonna go a little bit closer and have ego here and we've stopped with still small frame but he's closer now and he's like what you know so I'm gonna go back to that side shot but when I talked about earlier where I'm going to have ego stand up in his face and then we're gonna cut in for emphasis when ego gets in his face Mustafa is gonna lean back right because that's the power Eco dominates the frame so he's gonna tell him you know he's like essentially give me whatever your chef thinks is the best food he can possibly give me because I don't believe that this place is good so that's my turn right that's exactly what the whole scenes about I've just kind of nailed it in my mind what it can be and now with these roughs in mind I can go ahead and actually start to explore space and develop my shots that actually work better than these but these are a great starting point for me and let's see how the final boards came out the drawings for these final boards are pretty detailed but when making your own boards you don't need fancy drawings simple drawings are generally enough to support a good story pitch do you know what you would like this evening sir yes I think I do after reading a lot of overheated puffery about your new cook you know what I am craving a little perspective that's it I'd like some fresh clear well-seasoned perspective can you suggest a good wine to go with that with what sir perspective fresh out I take it I'm sorry don't apologize there seems to be a shortage currently hence your grotesquely undeserved reputation very well since you're all out of perspective and since no one else seems to have it in this bloody town I'll make you a deal you provide the food I'll provide the perspective which would go nicely with a bottle of 82 Chateau lafite-rothschild thank you food I'm afraid your dinner selection tell your chef linguine that I want whatever he dares to bring me tell him to hit me with his best shot now you're ready to storyboard your story it takes a lot of practice refinement and iteration so expect to have to do it a few times before it feels just right keep at it and don't get discouraged