The point of storyboarding is to communicate your vision of the film to a crew who will be working under your direction. For them to understand what you’re trying to achieve is imperative.
 The drawings need not be large, you can comfortably fit 4-6 on a page of A4 paper. Leave space under each drawing box to write down details of the shot, for example details of location, and a brief description of the action that is occurring.
•Story-Boarding is a popular management told to facilitate the creative-thinking process and can be likened to taking your thoughts and the thoughts of others and spreading them out on a wall as you work on a project or solve a problem.
•When you put ideas up on Story Boards, you begin to see interconnections, how one idea relates to another, and how all the pieces come together. Once the ideas start flowing, those working with the Story Board will become immersed in the problem. People will “hitch-hike” onto other ideas. 
Storyboards of some of your Favorite Films:
Psycho (1960) – Alfred Hitchcock
Spartacus (1960)
Director: Stanley Kubrick
The Sound of Music (1965)
Director: Robert Wise
Jaws (1975)
Director: Steven Spielberg
Taxi Driver (1976)
Director/Storyboard Artist: Martin Scorsese
Star Wars (1977)
Director: George Lucas
Apocalypse Now (1979)
Director: Frances Ford Coppola
Spiderman 2 (2004)
No Country for Old Men (2007)
Director: Joel and Ethan Coen
Inception (2010)
Director: Christopher Nolan

Video: An Inside Look at Storyboarding with the Coen Brothers’ Storyboard Artist

Storyboard Language

CLOSE-UP SHOT:   A close range of distance between the camera and the subject.


DISSOVLE: A transition between two shots, where one shot fades away and simultaneously another shot fades in. 


FADE – A transition from a shot to black where the image gradually becomes darker is a Fade Out; or from black where the image gradually becomes brighter is a Fade In.

HIGH CAMERA ANGLE:  A camera angle which looks down on its subject making it look small, weak or unimportant.

Image Image
JUMP CUT: A rapid, jerky transition from one frame to the next, either disrupting the flow of time or movement within a scene or making an abrupt transition from one scene to another. 

LEVEL CAMERA ANGLE:  A camera angle which is even with the subject; it may be used as a neutral shot. 

LONG SHOT:  A long range of distance between the camera and the subject, often providing a broader range of the setting. 

LOW CAMERA ANGLE:  A camera angle which looks up at its subject; it makes the subject seem important and powerful. 

PAN:  A steady, sweeping movement from one point in a scene to another. 

POV (point of view shot): A shot which is understood to be seen from the point of view of a character within the scene. 

REACTION SHOT- 1.: A shot of someone looking off screen. 2.: A reaction shot can also be a shot of someone in a conversation where they are not given a line of dialogue but are just listening to the other person speak. 

TILT:  Using a camera on a tripod, the camera moves up or down to follow the action. 

ZOOM:  Use of the camera lens to move closely towards the subject.


In-class Exercise:

Take-home Exercise: 

First draw a reverse storyboard

  1. Choose a short scene from a DVD that you like
  2. Watch the scene and then use the pause button to storyboard each shot.
  3. Consider why the filmmaker has chosen each type of shot and angle used. How are they trying to make the audience feel?

Now try your own storyboard:

  1. Think about an idea for a film.
  2. Starting with the first scene, draw the main characters and action of each shot in the scene.
  3. Include the shot size, the movement of the camera (if any) and the angle of the shot.
  4. Continue for each scene in the film.

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