Storyboards _ motion in art ( PDFDrive )

382 Appendices

Comics and Sequential Art Figure A2.4 Your Resume Sucks! by Mark Simon, Jeanne Pappas
By Will Eisner Simon, and Dr. James E. M. Irvine, D. M.
Publisher: Poorhouse Press, 1985
Based on the popular course Eisner taught at New York’s Interviews of artists along with thousands of listings of
School of Visual Arts. where to sell your art and for how much. Yours truly was
interviewed in the 1997 edition.
The Five C’s of Cinematography: Motion Picture
Filming Techniques Graphic Artists Guild Handbook: Pricing
By Joseph Mascelli & Ethical Guidelines
Publisher: Silman-James Press, 1998 Publisher: Graphic Artists Guild, 2003
Recommended by storyboard artist Josh Hayes. The best pricing and business information book for artists
I have ever read. Copyright and tax laws, ethical issues,
Comps, Storyboards, and Animatics business forms, liability, new technology, and more. Order
By James Fogle and Mary Forsell from 90 John St., Suite 403, New York, NY 10038 (800-
Publisher: Watson-Guptill, 1989 878-2753).
Step-by-step techniques for artistic creations.
Architecture and Interiors Books
Directing for the Stage: A Workshop Guide of 42 Creative
Training Exercises and Projects Entourage: A Tracing File for Architecture and Interior
By Terry John Converse Design Drawing
Publisher: Meriwether, 1995 By Ernest Burden
Recommended by animation director Larry Latham. Publisher: McGraw-Hill, 1991
Photos and drawings of people, buildings, cars, animals,
Directing Motion Pictures and plants for reference and tracing. The only drawback is
By Terrence St. John Marner that many of the clothing styles are out of date.
Publisher: A. S. Barnes, 1972
Recommended by animation director Larry Latham.

Marketing Books

Your Resume Sucks
Mark Simon, Jeanne Pappas Simon, and Dr. James E. M.
Irvine, D.M.
See www.MarkSimonBooks.com or
www.YourResumeSucks.biz, 2006
Shows you how most of what you learned about résumés
is not only worthless, but potentially may also be harmful.
Told in an entertaining story format and includes examples
of before and after résumés.

Selling Your Graphic Design and Illustration: The
Complete Marketing, Business, and Legal Guide
By Tad Crawford and Arie Kopelman
Publisher: St. Martin’s Press, 1981
Everything you should know about selling rights and
licenses for artwork, including example contracts and
pricing guidelines. A must-have if you intend to sell
artwork.

Artist’s and Graphic Designer’s Market
By Mary Cox
Publisher: F&W Publications, updated every year.

Resources 383

Retail Design
By Rodney Fitch and Lance Knobel
Publisher: Whitney Library of Design, 1990
Commercial retail design interiors.

Display and Commercial Space Designs (all volumes)
Publisher: Rikuyo-Sha Pub/Nippon Books
Commercial retail and point-of-purchase display designs.
For that matter any book by Nippon Books; all
architectural designs are from Japan (213-604-9701).

International Contract Design
By Lewis Blackwell
Publisher: Abbeville Press, 1990
Some of the most exciting public interiors for offices,
stores, restaurants, bars, hotels, museums, and health
centers.

The Complete Book of Home Design (rev. ed.)
By Mary Gilliatt
Publisher: Little, Brown, 1989
Ideas for studies, children’s rooms, and all household
rooms. Information on changing technology. Space, color,
and fabric design.

Rooms by Design
By Gerd Hatje and Herbert Weisskamp
Publisher: Harry N. Abrams, 1989
Very different types of interior design. Many are very
eclectic.

Figure A2.5 Graphic Artists Guild Handbook of Pricing & Ethical An Illustrated History of Interior Decoration: From Pompeii
Guidelines, 11th Edition. to Art Nouveau
By Mario Praz
Interior Space Designing Publisher: Thames and Hudson, 1964, 1982
By Yasuo Kondo Illustrations and paintings through the ages, mostly from
Publisher: Graphic-Sha, 1989 1770 to 1860, from Europe, Russia, and the United States.
Mostly commercial building interiors; great for use as a Many well-known artists are represented. Good source for
conceptual reference. period props and architecture design.

Restaurant Design 2 Homes and Interiors of the 1920s
By Judi Radice By Lee Valley
Publisher: Rizzoli International, 1990 Publisher: Sterling, 1987
Restaurant interiors for conceptual reference. Interior and exterior designs of the 1920s. Illustrations show
everything from floor plans to casework and balusters.
Exhibit Design 4
By Robert B. Konikow American Vernacular Interior Design: 1870–1940
Publisher: PBC International, 1990 By Jan Jennings and Herbert Gottfried
Designs of outrageous and large industrial and exhibition Publisher: Van Nostrand Reinhold, 1988
hall exhibits. There are six books in this series. Historic design concepts and sketches of a lot of
construction pieces and fixtures. Interior and exterior

384 Appendices

designs and vernacular illustrated. Great for period Periodicals
pieces.
Animation World Network—AWN
Architectural Detailing in Residential Interiors Information on the animation industry. Great school and
By Wendy W. Staebler work databases. Daily e-mails available. Monthly magazine
Publisher: Whitney Library of Design, 1990 available via PDF download from www.AWN.com.
High-quality photos and designs of different residential
interiors. Animation Magazine
Monthly magazine can be ordered from: 30941 West
Castles: Their Construction and History Agoura Rd, Suite 102, Westlake Village, CA 91361
By Sidney Toy (subscription rate: $50 per year); also maintains a large Web
Publisher: Dover, 1985 presence at www.AnimationMagazine.net and daily e-mails
Sketches, designs, photos, and vernacular about a number are available on request.
of castles.
Daily Variety
Industrial Landscape 5700 Wilshire Blvd., Los Angeles, CA 90036
By David Plowden 800-552-3632 / 310-782-7012; www.DailyVariety.com
Publisher: W. W. Norton, 1985 Listings of features in pre-production and in production
Photos of industrial complexes, interior and exterior, and around the world appear in every Friday edition. Good for
the surrounding living areas. One of the references for trade information; $329.99 per year for print and online or
this type of design. $259 for print subscription to Variety.com

Figure A2.6 Animation World Network online periodical. Figure A2.7 Cover of an issue of Animation Magazine.

Resources 385

Hollywood Reporter Post
5055 Wilshire Blvd., Los Angeles, CA 90036-4396 25 Willowdale Ave., Port Washington, NY 11050-9866
213-525-2000; www.HollywoodReporter.com 516-767-2500; www.PostMagazine.com
Daily industry trade paper via print and e-mail; $299 for the Free subscription if you meet the demographic requirements
daily paper and online per year or $19.95 per month for of the publisher.
online only. Very good listings of features in production and Monthly magazine dealing with all aspects of
pre-production and the top crew people. Good for trade postproduction. A lot of information on computer graphics
information. is included in each issue as well as some FX information.

Backstage millimeter
1515 Broadway, 14th Floor, New York, NY 10036 Penton Publishing
212-764-7300 / Fax 212-536-5318; www.BackStage.com Subscription Lockbox, P.O. Box 96732, Chicago, IL 60693
Published every Friday (subscribe for $195 per year). Deals www.millimeter.com
mainly with New York production in TV, film, and theater. Free subscription if you meet the demographic requirements
Casting information for crew and talent. Good for trade of the publisher.
information. Monthly magazine dealing with new production and post
production techniques.
Art Direction
10 E. 39th St., New York, NY 10016 American Cinematographer
212-889-6500 ASC Holding Corp., 1782 N. Orange Dr., Hollywood,
Monthly magazine dealing with design for the visual arts. CA 90028
Mostly for print, with some commercial storyboards. 213-876-5080; www.TheASC.com/magazine
Information on new design software and more. Great for Monthly magazine with articles on every aspect of the
keeping up with the latest looks and designs. industry; $29.95 per year for print or online. Some articles
touch on the art fields. All the photos are great references
Interior Design from the top movies.
44 Cook St., Denver, CO 80206-5800
800-542-8138; www.interiordesign.net Resource Guides
Monthly magazine with great photos of residential and
commercial design; $95.95 per year when ordered online. LA 411
Awesome reference material each month. P.O. Box 480495, Los Angeles, CA 90048
213-460-6304
Cinefex The best film and video guide for crew and services in
P.O. Box 20027, Riverside, CA 92516 Southern California ($55 for 13th edition). Includes
www.Cinefex.com production companies and union rules. If you live and
Published quarterly; four issues for $32 work around L.A., get in this book.
Simply the finest magazine published for designs and special
effects. Photos and descriptions of FX for the latest movies Reel Directory
and commercials. The advertisers are the best sources for www.ReelDirectory.com
whom to call or where to get special supplies. A definite 415-531-9760
must. They supply a list in the back of each issue for Northern California’s premiere resource guide for film,
ordering back issues. video, and multimedia; $35 for 2005 edition.



PART EIGHT

STORYBOARD SAMPLES



Storyboard Samples

389

390 Storyboard Samples
Figure S.1 Storyboards by Andy Lee.

Storyboard Samples 391

Figure S.2 Film Noir commercial storyboards by Alex Saviuk of Animatics & Storyboards, Inc.

392 Storyboard Samples
Figure S.3 Full Flame storyboards by Alex Saviuk.

Storyboard Samples 393

Figure S.4 Full Flame storyboards by Alex Saviuk.

394 Storyboard Samples
Figure S.5 Commercial storyboard art by Alex Saviuk. Colors by Mark Simon of Animatics & Storyboards, Inc.

Storyboard Samples 395

Figure S.6 Lonely Hearts film storyboards by Alex Saviuk
of Antimatics & Storyboards, Inc.

396 Storyboard Samples

Figure S.7 Commercial pitch board art by Alex Saviuk and compositing and color by Mark Simon
of Animatics & Storyboards, Inc.

Storyboard Samples 397

Figure S.8 Storyboards by Axel Medellin.

398 Storyboard Samples
Figure S.9 British animation series Captain Scarlet storyboards by Tracey Wilson, Lee Munday, Chris Drew, and Teri Fairhurst.

Storyboard Samples 399

Figure S.10 British animation series Captain Scarlet storyboards by Tracey Wilson, Lee Munday, Chris Drew and Teri Fairhurst.

400 Storyboard Samples

Figure S.11 Thumbnail storyboards by Dan Antkowiak for Animatics & Storyboards, Inc. Notice that some of the panels were already
complete and copied from an earlier spot. There was no need to redraw them.

Storyboard Samples 401

Figure S.12 Completed storyboards by Dan Antkowiak for Animatics & Storyboards, Inc. Notice there are a few camera changes
from the thumbnails, requested by the client during approvals.

402 Storyboard Samples
Figure S.13 Storyboards by J Parris.

Storyboard Samples 403

Figure S.14 Storyboards by David Hillman of Hillman Arts.

404 Storyboard Samples
Figure S.15 Tugger, The Little Jeep Who Wanted to Fly beat boards by Woody Woodman, co-creator and director.

Storyboard Samples 405

Figure S.16 Tugger, The Little Jeep Who Wanted to Fly production boards by Woody Woodman, co-creator and director.

406 Storyboard Samples

Figure S.17 TiVo agency pitch boards by Mark Simon of Animatics & Storyboards, Inc. The agency
filled the blank monitors with their own images for the pitch.

Storyboard Samples 407

Figure S.18 Howl High animation pitch boards by Mark Simon. (© 2006 A&S Animation, Inc.)

408 Storyboard Samples
Figure S.19 Major League Baseball 2006 video game commercial director’s boards by Mark Simon of Animatics & Storyboards, Inc.

Storyboard Samples 409

Figure S.20 BBDO Detroit Jeep animatic frames by Mark Simon of Animatics & Storyboards, Inc.
Compliments of DaimlerChrysler Corporation.

410 Storyboard Samples
Figure S.21 Timmy’s Lessons in Nature script and storyboards by Mark Simon for A&S Animation, Inc. (© 2006 A&S Animation, Inc.)

Storyboard Samples 411

Figure S.22 Adidas commercial director’s boards by Mark Simon of Animatics & Storyboards, Inc.

412 Storyboard Samples
Figure S.23 Santo Bugito production boards for the episode “Carmen Tango.” (© Klasky Csupo.)

Storyboard Samples 413

Figure S.24 The Brothers Flub, episode “Guapos Galore.” Storyboards by Wolverton of Animatics
& Storyboards, Inc. (© Sunbow Entertainment.)

414 Storyboard Samples

Figure S.25 UFO Encounter boards for a walk-through experience for Renaissance Entertainment
by Mike Conrad of Radical Concepts, Inc.

Storyboard Samples 415

Figure S.26 Painter digital storyboards by John Ryan.

416 Storyboard Samples
Figure S.27 Storyboards by German artist Ovi Hondru.

Storyboard Samples 417

Figure S.28 Storyboards by Lyle Grant.

418 Storyboard Samples
Figure S.29 Capital One commercial storyboards by Josh Hayes.

Storyboard Samples 419

Figure S.30 The West Wing storyboards by Josh Hayes. (Courtesy of Warner Bros. All rights reserved.)

420 Storyboard Samples
Figure S.31 Cousin Kevin pitch boards by Charlie Chiodo of Chiodo Bros. Productions, Inc.

Storyboard Samples 421

Figure S.32 The Simpsons boards. (© Twentieth Century Fox Film Corporation. All rights reserved.)

422 Storyboard Samples

Figure S.33 Conceptual illustration by Mark Simon of Animatics & Storyboards, Inc. All the
fireworks are photos comped into the image, as are the lampposts
and the image projected on the screen.

Figure S.34 Concept art for a gaming video series, The Gamer by Mark Simon.
The clouds and marble are photo textures manipulated to show roundness
and depth. (© 2003 A&S Animation, Inc.)

Storyboard Samples 423

Figure S.35 Concept art for a TiVo infomercial set by Mark Simon of Animatics & Storyboards, Inc.

Figure S.36 Concept art for The Creepers by Travis Blaise for Animatics
& Storyboards, Inc. (© 2006 Lyons Entertainment, Inc.)



Glossary

There are a number of industry terms that you will Cleanups. Finished pencil or ink over initial rough
be hearing as you work in the field of storyboarding storyboards.
and in most any area of filmmaking. Here is a list of
the most common terms as they relate to drawing Cont. (Continued). Action or dialogue continues
storyboards. from one panel or scene to the next.

Aerial. Extremely high-angle shot, usually taken Continuity. An unbroken flow of actions and
from a plane or helicopter. events.

Aspect ratio (Field ratio). The relationship of the Countering. Camera moving in the opposite direc-
horizontal dimension to the vertical dimension for any tion to that of the subject.
given film or tape format. For example, the aspect ratio
for TV is 4 : 3; that is, a TV screen is 4 units wide by 3 Cover shot. See Master Shot
units high.
Crosscutting. Showing parallel action by alternat-
BG (bg)—Background. Action or items behind the ing between shots of two or more scenes.
subject on which the camera is focusing.
Cross-dissolve. One scene on the screen dissolves
Bird’s-eye view. The camera is up high looking or fades into the next as a soft transition; used to slow
down. the pace of a scene or show a transition in time.

Blocking. Action and positioning of the actors as Crossing the line. Placement of the camera in rela-
determined by the director. tion to the action and an invisible line, which when
crossed causes the action to look like its direction has
Boom up or down. This is where the camera moves reversed. Action has crossed the line when the subject
vertically. appears to go in the opposite direction in successive
cuts. This happens when shot A shows the subject going
B-roll. Preexisting footage edited into a project. from left to right on the screen and shot B shows the
subject going from right to left.
Breakdowns (Breakdown a script). Drawn or
written shot descriptions based on a script. CU—Close-up. This shot should include the tops
of an actor’s shoulders and head, with a little headroom.
Camera shake. A jerking or shaking of the camera
to simulate an earthquake, rumbling, turbulence, or Cut. Hard edit from one shot to the next.
impact.
Cutaway. See Insert.
Canted frame (Twisted, Chinese, or Dutch angles).
The framing of the horizon is not parallel to horizon- Cycle. A repetition of animated drawings over
tal. This is used to disorient the viewer or show that a time.
character is out of sorts.
Deal memo. A letter or short contract stating
employment terms.

425

426 Glossary

Deep focus. Keeping the extreme foreground and HA—High angle (bird’s-eye view). The camera is
the background in focus at the same time. up high looking down.

Depth of field. The distance from the camera lens Halftone. A digitized version of a photo or piece of
that is in focus. art that breaks the image into very tiny dots that print
and reproduce very well. Newspaper photos are
Diagonal. In animation, a tilted pan. In live action, halftones.
a camera move up and to the side.
Headroom. Amount of space between the top of an
Dissolve. One scene on the screen dissolves or fades actors head and the top of the frame.
into the next as a soft transition; used to slow the pace
of a scene or show a transition in time. Horizon. The horizontal line in the distance where
the sky meets the ground.
Dolly (truck or travel). This is the movement of the
camera along a horizontal line. If the camera is to be Insert (Cutaway). A close shot of some article or
mounted on a dolly, then the term dolly is most minute action that is edited into the scene and that sup-
appropriate. ports the main action. For example: There is an alert
at an army base and guards are trying desperately to
Double time. Double the pay per hour. maintain control. During all the commotion there may
be cutaways of flashing lights or of a finger flipping a
Downshot. Same as high angle and bird’s-eye view. switch.

ECU—Extreme close-up. Any extremely close shot Intercut. Cutting back and forth between two
of an actor or an object. scenes.

Establishing shot. A wide shot at the beginning of Jump cut. Shots that appear to jump out of proper
a scene to inform viewers of a new location and to orient continuous time. For example, a single camera shot with
them to the relative placement of characters and objects. a portion of that shot edited out, which makes the char-
acters seem to jump to new positions without warning
Fade in and Fade out. Fade from black to a scene or reason.
and from a scene to black, respectively. Used in scripts
as “begin” (fade in) and “end” (fade out). LA—Low angle (worm’s-eye view). The camera is
down low looking up.
FG (fg)—Foreground. Items or actors closer to the
camera than other elements in the frame. Layout. The visual design of a scene.

Field. The area inside the camera frame. In anima- Lead space. The amount of room between the front
tion terms, a field is a measurement term 1 inch wide of an actor and the side of the frame.
by 3/4 of an inch. A normal television frame is 12 field,
or 12 inches wide by 9 inches high. Line of action. Same idea as screen direction, but it
represents an invisible line that the camera cannot cross
Field in. To zoom the camera closer to the without looking like the action reversed (called crossing
animation. the line). The direction a character has to look to another
actor or the direction a character needs to move to look
Flash cut (Flash frame). Extremely brief shot, like he or she is continuing toward the same goal.
sometimes only one frame. Used as an effect, such as a
white frame, for a gunshot or lighting effect. Live-action. A scene filmed with live actors.

Focus pull (Follow focus). Refocusing the lens to Local (as in “a local”). A crew member who will
follow a character or object. work in a city where he or she does or doesn’t live and
still charge a local rate. In other words, the person is
Follow shot. A truck pan or zoom that follows a not taking an extra fee for mileage, hotel, or per diem.
moving subject.
Locked-off camera. The camera is stabilized for a
Footage. The length of an actual piece of 35 mm steady shot. Often used for effects shots where multiple
film used to describe a length in time. A 1.5-foot scene images are to be combined.
equals 24 frames and one second of screen time.
Loose. A shot composition where there is plenty of
Full shot. Head-to-toe framing of a subject. space around the subject.

Golden time. Double the pay per hour.

Glossary 427

LS—Long shot. The use of a long lens to show Panel. One frame or illustration of a storyboard.
action far away.
Per diem. An amount of money paid to crew
Main unit (First unit). The production crew that members for every day in a production they stay in a
shoots the bulk of a production, including most of city other than where they live. This money is meant to
the actors’ dialogue, with the director overseeing each cover the cost of food, primarily.
shot.
Photo boards. A storyboard generated using
Master shot (Cover shot). A viewpoint wide stock or custom photos; usually made by agencies for
enough to establish the physical relationships between presentations.
the characters and close enough to understand all the
action. Plot Plan. Overhead view or blueprint of a location
or set.
Match cut. A transition between scenes. A move-
ment in one shot lines up and matches another move- POV—Point of view (Subjective shot). The viewer
ment in the next shot. sees what the actor would be seeing.

MCU—Medium close-up. The proper definition is: Principal photography. The main photography of
tight enough so that the top and bottom of the head are a film.
cut out of the frame, or tighter than a close-up. Some
directors and producers use this term to mean: a little Pull back. Zoom or dolly back to a wider shot.
wider than a close-up. Should an MCU come up in the
storyboarding process, make sure you define it. Rack focus. The camera starts its focus on one
subject and changes focus to another subject.
Montage. A short portion of a story where a
number of short, related elements are edited together to Reaction shot. One character listening or reacting
show background or the passage of time. to another character or event.

Morgue. A file or collection of reference photos. Reverse angle (Shot). A shot that is 180° opposite
the preceding shot.
Morph. The changing of an object from one form
into another. For example, a lazy character could be Roughs. Unfinished sketches of a storyboard used
shown to morph into an eggplant. to lay out the scene and get approvals.

Motivated shot. A shot dictated by the action of the Rule of thirds. A design rule that breaks a frame
previous shot. For example, a woman looks up in one into vertical and horizontal thirds and then places the
shot and the motivated shot would be her POV of the main subject at the intersections of the lines.
moon.
SA—Same action. An animation term describing a
MS—Medium shot. Shows a character from the portion of the frame that does not change or move over
waist up. consecutive storyboards.

OL—Overlay. Animation term meaning a portion Scene. In classic 2D animation, a scene is one shot
of a drawing that is on the uppermost level of anima- on one background. In CG and live action, a scene
tion, allowing action to happen behind it. comprises all the shots in one location at one point in
time.
OS (OC)—Offstage or Off camera. This is when
dialogue, sound effect, or action takes place beyond the Screen direction. The direction a character has to
view of the camera shot. look to another actor or the direction a character needs
to move to look like he or she is continuing toward the
OTS—Over the shoulder. When the camera is same goal.
looking from just behind and over the shoulder of an
actor. Second unit. Secondary crew of a film shoot.
Usually shoots effects, stunts, or cutaways.
Overtime. Time and a half pay per hour, normally
after 8 hours of work. Sequence. A collection of shots and/or scenes that
tells one portion of a story.
Pan. The camera is stationary and rotates in one
direction, left or right, on an axis. Setup. Each choice or setup of a camera angle.



Index

Accounting, 268 Artists, storyboard, 14–16. See also Billing, 247–249, 267–268
Acrobat Pro, 174 Interviews Biomechanical designs, 159
Acting for Animators, 380 Bird’s-eye views, 425
Action examples, 230 Artist’s and Graphic Designer’s Market, Bitmap software, 181
Action figures, 112 382 Black Belt Karate, 381
Action scenes, 99 Blade, 284
AD (assistant director), 155 Art of Anastasia, The, 378 Blaise, Travis, 15, 19, 22, 46, 48, 66, 130,
Adidas, 411 Art of Pocahontas, The, 378
Adjustable ship curves, 178 Art of Return of the Jedi, The, 378 136, 157, 197, 423
Adobe Acrobat Pro, 174 Art of Robots, The, 377 Blaise, Aaron, 306
Adobe After Effects, 211 Art of Star Trek, The, 378 Blenders, 50
Adobe Create Suite, 316 Art of Star Wars, The, 378 Blocking, 425
Adobe Illustrator, 316 Art of storyboards. See also Directors; Blue lines, 35–36, 315
Adobe Photoshop, 22, 36, 50, 82, 159, Blue pencils, 274
Staging and composition; Tricks of Blueprints, 158, 257
166, 168, 173–174, 288 trade Blue screen, 153
Advertising, 266 animatics, 83–91 BoardMaster software, 163
Advertising agencies, 29, 215, 228 animation boards, 63–70 Boardomatic plug-in, 168
Advertising boards, 315 clean-up and final product, 43–48 Body sketches, 35
Aerials, 425 coloring, 49–55 Boogers, 126
Affiliated Optical Electronic and Graphic comps, 80–82 Books, reference, 132
conceptual illustration, 157–161 Boom up or down, 425
Arts, Local 839 of IATSE, 263 contrast and mood, 148–151 Bottom storyboard panel, 148
After Effects, 88, 89, 211 gaming and multimedia boards, 71–73 Brainstorming session, 290
Agency boards, 215 illustrated camera techniques, 138–142 Breakdowns, 99, 425
Agency Jeep, 89 laser-show boards, 77–79 Bridgman’s Complete Guide to Drawing
Agents, 260–262 live-action boards, 60–62
Allard, Chris, 21, 24, 98, 123, 125 live-event and theme-park boards, 74–76 from Life, 377
Amblin Imaging, 153–154 numbering, 143–147 Bristol board, 23
American Cinematographer, 385 presentation and delivery, 190–195 British rates, 241–242
American Dream Cars, 381 presentation versus production boards, B-rolls, 425
American Society of Cinematographers 56–59 Brother Bear, 305
previsualization, 92–94 Brothers Flub, The, 64, 65, 66, 137, 232,
(ASC), 164 quick thumbnail storyboards, 33–37
American Vernacular Interior Design: references and research, 128–137 413
screen direction, 115–120 Budgeting, 60–61
1870–1940, 383–384 sketching perspective, 38–42 Burgard, Tim, 11, 12, 43, 76, 121, 156,
Anamorphic lens, 258 special effects, 152–156
Animals, used for reference, 130 styles, 95–98 199, 218, 250, 262, 264, 294–303
Animals in Motion, 131, 380 Art of The Empire Strikes Back, The, 378 Burning, 53
Animated movements, 125 Art of The Hunchback of Notre Dame, Burn tool, 53–54
Animatics, 29, 83–91, 92, 218, 319, 324. The, 378 Business aspects, 189. See also Clients;
Art of The Incredibles, The, 377–378
See also Previsualization Art of The Lion King, The, 378 Productions
Animatics & Storyboards, Inc., 64, 88, Art of The Matrix, The, 378 agents and artist representatives, 260–262
ASC (American Society of billing, 247–249
266, 272 Cinematographers), 164 education and experience, 208–211
Animation, 230, 245, 350–355, 379–380 Aspect ratio, 425 estimating, 243–246
Animation boards, 63–70, 97, 125, 144, Assistant director (AD), 155 finding jobs, 222–224
Asymmetrical balance, 126–127 formats, 258–259
187–189 .AVI files, 86 licensing, 250–253
Animation Book, The, 380 AWN (Animation World Network), 211, portfolios, 203–207
Animation director, 66 384 preparing for jobs, 225–227
Animation Guild, The, 263 pricing, 239–242
Animation houses, 217–218 B&W panels, 278 producer requirements, 235–238
Animation Magazine, 384 Backstage, 385 résumés, 199–202
Animation scripts, 67, 350 Baja Race, 71 review of, 265–268
Animation studios, 223 Bamberger, Nina Elias, 26, 209, 237 suggestions for starting out, 212–213
Animation World Network (AWN), 211, Batman Animated, 379 trade practices, 254–257
Batman Returns: The Official Movie Book, unions, 263–264
384 Business cards, 267
Animator’s Survival Kit, The , 376 378 Business courses, 17
Antkowiak, Dan, 9, 18, 33, 44, 46, 55, 97, Batman: The Official Book of the Movie, Business knowledge, 237

110, 126, 127, 201, 223, 232, 237, 378 CAD (computer-aided design) program, 41
252, 255, 400–401 Batteries, 183 Camcorders, 183
Approvals, 187 BBDO Detroit, 89, 174, 409 Cameras, 138–142, 183, 425
Architectural Detailing in Residential Beat boards, 309
Interiors, 384 Beaverboards, 4 angles, 116–117, 333
Architecture, 382–384 Behind Enemy Lines, 221 depth, 180
Area 51, 323 Berry, Halle, 300 movement, 104, 140
Armour, 244 BG (background), 50, 66, 84, 425 Cameraworks, 327
Arrows, 138–139 Cameron, James, 26
Art Direction, 385
Art directors, 82, 218–219
Artist representatives, 260–262

429

430 Index

Cancellation fees, 254 Coloring storyboards, 49–55 CUs (close-ups), 425
Canson Calque Tracing Paper, 316 Color keys, 57, 96, 309 Cushing, Sean, 281–286
Canted frames, 102–103, 425 Color printers, 166 Cutaways, 100, 122, 426
Capital One, 59, 261, 291, 418 Color scanner settings, 36 Cuts, 72, 425
Captain Scarlet, 5, 139, 140, 141, 398, 399 Color scripts, 96 Cycles, 425
Car manufacturer websites, 131 Comic book artists, 271–278 Cylinders, 35
Cartoon Animation, 380 Comic books, 132, 148, 274, 295
Cartoons, 4, 350–355 Comics and Sequential Art, 382 Dahlstrom, Jon, 21
Cartwright, Craig, 363 Commercial directors, 107 Daily rates, 240
Carwile, Mike, 74 Commercial production houses, 215, 292 Daily Variety, 384
Castles: Their Construction and History, Commercials, 61, 159, 228–230, 295, Dali, Salvador, 159
Danglo, Dan, 63, 217
384 346–349 Dates, Jeff, 322–327
Castro, Willie, 77, 78, 79 Commissions, 256 Day rates, 243
CD-ROM clip art, 132 Communications, 17, 189 Deal memos, 240, 425
CD-ROM encyclopedias, 132 Complete Book of Home Design, The, 383 Deep focus, 426
CD-ROMs, 182 Compositing, 159 Delivery of boards, 190–195, 267
Cel animation, 217 Composition. See Staging and composition Depth of field, 426
CG (computer-generated) models, 153 Comprehensives, 80–82 Design elements. See Staging and
CGI (computer graphics) equipment, 230 Comps, Storyboards, and Animatics, 382
Character motion, 187 Computer-aided design (CAD) program, 41 composition
Character sheets, 125 Computer animation houses, 218 Dexter, 245
Charcoal, 21 Computer-generated (CG) models, 153 Diagonals, 426
Chartpak markers, 274 Computer graphics (CGI) equipment, 230 Dialogue, 69
Chase scenes, 119 Computer graphics artists, 34 Digital art, 186
Checklists, 226–227 Computer graphics companies, 230 Digital blurring, 180
Chiaroscuro, 148–151 Computers, 162–177, 181–183 Digital boards, 191
Chinese angles, 103, 425 Concept art, 39, 159 Digital coloring, 50
Chiodo, Charles, 97, 152, 420 Concept pitch boards, 235 Digital copying, 178
Choreography, 319, 324 Conceptual artists, 161 Digital Domain, 93
Cinefex, 385 Conceptual illustrations, 157–161 Digital drawings, 88, 96, 179, 180
Cinematic artists, 72 Conrad, Mike, 31, 62, 71, 75, 161, 221, Digital still frames, 159
Cinematics, 72, 213 Digital storyboards, 282
Cinematography, 93, 324 414 Digital text, 54
Clean-up, 43–48, 181, 305, 425 Continued action (cont.), 425 Digital video effects (DVEs), 86
Cleanup artists, 223 Continuity, 309, 425 Dillon, Mark, 6, 160
Cleese, John, 289 Contrast and mood, 148–151 Directing for the Stage: A Workshop Guide
Clients, 214–221, 260 Convention services, 217
Copiers, 50, 180 of 42 Creative Training Exercises and
advertising agencies, 215 Copying, 180 Projects, 382
animatics houses, 218 Copyright, 252, 253 Directing Motion Pictures, 382
animation houses, 217–218 Copyright Act of 1976, The, 253 Directors
art directors, 218–219 Copyright Office at the Library of Congress, artists as, 99–105
commercial production houses, 215 creating visual interest by varying shots,
computer animation houses, 218 252 102–104
convention services, 217 CorelDRAW software, 23, 132 introducing movement, 104–105
directors, 219 Corel Painter, 168 overview, 99–100
documentary filmmakers, 215 Corporate logos, 54 visual story, 100–102
estimates for, 243, 245 Countering, 425 as clients, 219
film production companies, 218 Couples, Vols. 1 (Basic Pose) and 2 (Daily commercial exercise, 347–349
gaming and interactive companies, 220 cooperation with, 106–114
industrial production houses, 215 Pose), 381 resources for, 381–382
in-house marketing, 221 Cousin Kevin, 97, 152, 420 TV Western exercise, 340
laser show design houses, 219 Cover shots, 427 Directors of photography (DPs), 11, 164
live-event designers, 215–217 Create a New Layer icon, 50–51 Disciples, The, 149
local affiliate stations, 218 Create Suite, 316 Disney Animation: The Illusion of Life, 379
music videos, 220 Creating Special Effects for TV and Films, Disney classes, 129–130
overview, 214–215 Disney Feature Animation, 130
previz studios, 219 379 Disney’s Animation Magic, 379
producers, 219 Creative directors, 215 Disney’s Art of Animation, 378
production managers, 219 Creative Marker Techniques: In Display and Commercial Space Designs, 383
special effects houses, 220 Dissolves, 426
stunt coordinators, 220 Combination with Mixed Media, Dissolve symbols, 139
television series, 219 377 Documentary filmmakers, 215
theme parks, 220 Credit, 267 Dodge tool, 53–54
web design, 221 Creepers, The, 15, 22, 100, 102, 122, 141, Dogfight exercise, 331–332
Close to Home, 47, 289 157, 423 Dog—The Complete Guide, 381
Close-ups (CUs), 425 Crew lists, 232, 267 Dollies, 426
Cold-calls, 224 Criticism, 237 Dolly tracks, 93
Col-erase blue, 300 Crosscutting, 425 Doner Progressive, 82
Color boards, 310 Cross-dissolves, 139, 425 Double time, 426
Crosshatching, 47
Crossing lines, 425
Csupo, Klasky, 25, 68, 123, 124, 238, 412
Cubes, 35

Index 431

Downshots, 426 Figure Drawing for All It’s Worth, 377 Graphics tablets, 44, 182
DPs (directors of photography), 11, 164 File Transfer Protocol (FTP), 174 Grayscale settings, 36
Dracula: The Film and the Legend, 378 Film Directing Shot by Shot: Visualizing Greeked type, 80
Drafting table, 268 Green, Bruce Seth, 99
Drafting tape, 179 from Concept to Screen, 381 Green, Colin, 282
Drew, Chris, 5, 139, 140, 141, 398, 399 Filmmakers, 17, 211 Grey tones, 45
Dune: Official Collector’s Edition, 378 Filmmakers, documentary, 215
Dutch angles, 103, 425 Film production companies, 218 HA (high angle), 39, 107, 426
DVDs, 131 Films, 27 Halftone Filter, Photoshop, 173–174
DVEs (digital video effects), 86 Films, naming, 191 Halftones, 173–174, 181, 426
Dynamic Figure Drawing, 377 Film schools, 211 Hampton, Bo, 239, 268
Final boards, 347 Handbook of Pricing and Ethical
Ear sketches, 35 Final storyboard art, 43–48
ECUs (extreme close-ups), 426 First impressions, 200 Guidelines, 9th ed., 254
Editing rates, 243 First unit crew, 28 Hard booking, 226
Education, 17–19, 201, 208–211, 301, 320 First units, 427 Harryhausen, Ray, 161
Edwards, Vaughan, 158, 233, 158 Five C’s of Cinematography: Motion Hayes, Josh, 28, 29, 47, 48, 59, 111, 155,
Effects supervisor, 286
80/20 adage, 268 Picture Filming Techniques, 220, 261, 287–293, 418–419
Eisner, Will, 276 The, 382 HDTV (high-definition TV), 258
Electric erasers, 185 Flash, 84, 221 Headroom, 426
E-mail, 182, 191, 248 Flash cuts (flash frames), 426 Head sketches, 35
Emmerich, Roland, 297 Floor plans, 110, 112 High angle (HA), 39, 107, 426
Employer identification number (EIN), 251 Flyers, 224 High fall exercise, 333–334
Entertainment industry illustrators, 263 Flyout, 78 Hillman, David, 36, 203, 225, 364, 403
Entourage: A Tracing File for Architecture Focus pulls (follow focus), 426 Hiring freelancers, 223
Folders, 226 Hollyweird, 4
and Interior Design, 381 Follow shots, 426 Hollywood Reporter, 385
Drawing, 382 Footage, 426 Homes and Interiors of the 1920s, 383
Eon Entertainment, 93 Force: The Key to Capturing Life Through Hondru, Ovi, 14, 214, 236, 268, 416
Erasers, 22, 185, 187 Drawing, 376 Hoot, 7, 38, 234
ESC Visual Effects, 284 Ford, 160, 237 Horizons, 38, 122, 426
Establishing shots, 102, 426 Foreground (FG), 107, 426 Hot Wheels, 317
Estimates, pricing, 243–246 Foreshortening, 123–124 Hourly rates, 240
Event boards, 74–76 Formats, screen, 258–259 How Did They Do It? Computer Illusion
Exclusive contracts, 262 Forms, storyboard, 369–375
Executive producers, 213 F pencils, 300 in Film and TV, 379
Exercises, 329–355 Frame design, 125 Howe, John, 160
animation and cartoon, 350–355 FrameForge 3D Studio, 85–86, 163, 164 Howl High, 64, 141, 246, 407
commercial, 346–349 Frames, 144 How to Draw Animals, 377
dogfight, 331–332 for films, 259 How to Draw Animation, 376
high fall, 333–334 for TV, 259 How to Draw Cars the Hot Wheels Way,
outlines, 335 Frank and Ernest, 3
overview, 329 Freedom, 208, 272 376
special effects matte shots, 336–337 Freehand sketches, 40–41 How to Draw Cartoon Animals, 376
TV Western, 338–345 Freeze-frame style, 218 How to Draw Comic Book Heroes and
Exhibit Design 4, 383 French curves, 23
Expense estimate, 256 FTP (File Transfer Protocol), 174 Villains, 379
Expenses, 189, 240, 268 Full Flame, 39, 96, 129, 278, 392, 393 How to Draw Comics the Marvel Way, 376
Experience of artist, 208–211 Full shots, 426 Hue/saturation adjustments, 36
Experiencia, 74 Fuqua, Antoine, 111 Human Figure in Motion, The, 131, 381
Extreme close-ups (ECUs), 426 Futuristic traffic, 336
Eye sketches, 35 IATSE (International Alliance of Theatrical
Gamer, The, 422 Stage Employees), 263
Facial Expressions, 129, 380 Game shows, 218
Fade ins and fade outs, 426 Gaming and interactive companies, 72, 220 Illustrated camera techniques, 138–142
Fairhurst, Teri, 5, 139, 140, 141, 398, 399 Gaming boards, 71–73 Illustrated History of Interior Decoration:
False light tables, 178 Ghost Recon 2, 73
Falsons, 96 Giger, H. R., 159 From Pompeii to Art Nouveau, An,
Fast-moving objects, 101 Gilmore, Craig, 73, 361 383
Faxing, 187, 248 Gladiator, 18, 201, 223 Illustrator’s Reference Manual: Nudes, 381
Feast, 290 Gold, Jenni, 338 Image association, 96
Feature animation, 69 Golden time, 426 Image search engines, 131
Feature examples, 232–234 Gouache, 49 In-camera effect, 155
Feature films, 245, 282 Gradient Fill tool, 54 Income, 240
Feeders, 180 Grandfathering, 264 Independent contractors, 250
Felix the Cat, 63 Grant, Lyle, 30, 56, 82, 104, 314–321, 417 Indiana Jones and the Temple of Doom: The
FG (foreground), 107, 426 Graphic Artists Guild, 251, 254, 256 Illustrated Screenplay, 378
Field ratio, 425 Graphic Artists Guild Handbook: Pricing Industrial Landscape, 384
Fields, 426 Industrial Light and Magic: The Art of
& Ethical Guidelines, 382 Special Effects, 379
Graphics logo animation examples, 230 Industrial production houses, 215
Industry events, 223
In-house marketing, 221
Initiation fees, 264
Inking, 180