Storyboards from Phineas and Ferb

I’ve just posted
a big ol’ bunch of my storyboards from Phineas & Ferb.

You can find them all
on my storyboarding blog at
http://StoryboardSecrets.com/blog

 Here’s a tiny sampling
of what you’ll find on the storyboarding blog…

Come check out the whole sequence
at http://StoryboardSecrets.com/blog

Batman Begins (and many more) Storyboards by Martin Asbury

Check out this gorgeous gallery of live-action boards by storyboard artist Martin Asbury:
http://www.martinasbury.com/storyboards.html
His resume of storyboard art includes Harry Potter, many James Bond films, Chicken Run and of course Batman Begins. Here’s just a small sample of his work:

Check out the big, big gallery of Martin Asbury’s storyboard art at: http://www.martinasbury.com/storyboards.html

Storyboard Job Alert: Rough Draft

Rough Draft Studios is looking for Storyboard Artists!
Click on the images below to find out all the details…

http://www.roughdraftstudios.com/jobs.html

The "Secrets" Have Landed

They're finally here...

After hauling all the way across the continent...

A fresh new printing of
the Storyboard Secrets 10-DVD Course
has arrive fresh from the printer!

To order or get more info on the 10-DVD Box Set, click:

http://StoryboardSecrets.com/info/

After the first printing sold out, I was totally engulfed in finishing a big storyboard project on Disney's Fish Hooks. After recovering from the pitch I finally had a chance to send everything off to the printer…

Last week I got my hands on the first batch, tested them all out, shipped the first batch to the people that pre-ordered, and then ordered up another shipment so I can have enough on hand for the upcoming big release.

I'm probably not going to make a public announcement 'til next week,
so if you want to get in before the official launch date, you can find all the details here:

http://StoryboardSecrets.com/info/

Questions? just shoot me an email at:

Cowabunga Dudes! Nickelodeon is staffing up on TMNT -- Storyboard Artists, BG and Prop Designers, etc!

Nickelodeon is staffing up on Teenage Mutant Ninja Turtles!

They need: Character Designers Prop Designers BG Designers Color Stylists Storyboard Directors Storyboard Artists Storyboard Revisionists

INTERESTED? To apply for these positions, you must submit your resume online at any of the above links (the main job page is here.) You should follow up by submitting a flat book portfolio (do not include any original artwork) and a digital DVD displaying your art directly to the animation studio. ------------ That's all the info I've got -- good luck!

Walt Disney Animation Studios wants to hire artists! Storyboard, Modelers, Animators and more!

This just in: Walt Disney Animation Studios is gearing up for their next feature films and according to their new job postings, they're hiring! Production openings include: Story Artist Modeler CG Animator Character Pipeline TD Character TD Shading/Lighting/FX Pipeline TD  Technology openings include: Senior Systems Engineer Software Engineer Senior Software Engineer, Application and UI Developer

For details and to apply, please visit https://careers.disneyanimation.com/job_groups or the above job links. That's all I know, so visit those links, and good luck to you :)

Calling all Storyboard Artists -- Nickelodeon Animation Studios wants YOU

Hey storyboard artists...Nickelodeon is looking for STORYBOARD artists for Penguins of Madagascar and TUFF Puppy!

More info on how to apply for these jobs here: http://bit.ly/gjz3El http://bit.ly/g0XVI2

By the way...THREE young artist-friends of mine have gotten their FIRST storyboard artist job in the last couple months. Why? Cuz they're GOOD and HUNGRY and don't let rejection knock them out.

TWO of those guys recently moved from the midwest to L.A. -- without ANY leads or prospects. They got more guts than I ever had. Amazing. They're not letting talk of "the economy" keep them down. Carpe diem, y'all.

First-Ever Photos of the Storyboard Secrets 10-DVD Boxed Set

 10 DVDs - 20 Topics - 13 Hours of Practical Instruction.

The DVD course debuted on Friday at CTNX

CTNX was amazingly great, and we met tons of great cartoonists!
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For more info on the 10-DVD Box Set, please send an email to:

What is "Storyboard Secrets?"

What is "Storyboard Secrets?"

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Find out Friday at CTN-X

JOBS: DisneyToon Studios Looking for Story Artist

DisneyToon Studios has openings for Storyboard Artists to join the production team at their Glendale, CA studio. This position is represented by the Animation Guild.

Responsibilities:
    
• Translate story ideas into visual sequences based on notes and meetings with the Director and other members of the story team.
• Work closely with Director, Head of Story, Art Director and other members of the production team to develop the cinematography and staging; choosing initial camera placement and angles; defining action and camera movement.
• Convey the essence of story line, scene structure, character emotion and create action and humor in alignment with the overall direction of the film.
• Solve story and structure problems -- punch up scenes.

Qualifications:

• 3 years professional experience required, feature animation experience preferred
• Experience on multiple Feature Films and/or Television Series as a Story Artist
• Ability to work digitally required, i.e. Digital GDI/Photoshop
• Ability to create action and humor expressed through drawing
• Strong drawing skills with a sense of design, character and composition
• Understanding of cinematic scene and dramatic structure
• Ability to work collaboratively
• Bachelors degree preferred

To apply: If you haven't created a profile with them you can do so at www.disneyanimation.com. Once completed, submit your resume and link to your work at dts.jobs@disney.com

Storyboard JOB ALERT! Fox Seeks Board Artists for The Cleveland Show

Storyboard JOB ALERT!

Fox Seeks Storyboard Artists
for The Cleveland Show

(Following is cut-and-pasted from the TAG Union Jobs bulletin) 

"Currently looking to fill positions for storyboard artists and storyboard revisionists. This is a primetime, 2D animated show and a full time in house position. We are looking for seasoned artists, preferably with primetime experience.

We look for key skills of perspective, solid-form drawing, shot selection, and intuitive character acting. Ability to take direction and communicate with production, and directors is a must. Looking for people with strong communication, organizational skills, thumbnailing, and tight boarding skills. This show is revision-heavy, so we need people who will happily change things as much as needed. This show has a particular style, so we need people who can adapt and stick to a style outside of their own.

This show has a rigid schedule, therefore time management is a must. We are entirely digital, using Cintiqs and Storyboard Pro. Knowledge of this program is a plus. We provide a short learning curve, so we are looking for people with digital experience.

We would like to fill these positions as soon as possible.

If you are interested in taking a test, please email Sarah Longueuiel with an attached email at sarah.longueuiel@tvbyfox.com. "

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If you skimmed that, make sure you see THIS part:

"We are entirely digital, using Cintiqs and Storyboard Pro. Knowledge of this program is a plus. We provide a short learning curve, so we are looking for people with digital experience."

If you're not up to speed with digital storyboarding, I really recommend you try to get up to speed before it's too late.

Good luck!

Storyboard JOBS: Nickelodeon seeking Storyboard Artist for "Dora The Explorer"

 Nickelodeon Animation Studio is looking
for a Storyboard Artist for "Dora The Explorer"

Storyboard Artist: Description: Meet with creative supervisors to discuss objectives of storyboard; what is desired or to be achieved Create storyboards by implementing storytelling objectives. Follow instructions of creative supervisors Address any problems with creative supervisors; ask necessary questions Communicate progress of work to creative supervisors and to appropriate production staff Ensure quality and style of show is consistently achieved in storyboard work Follow proper document management requirements (i.e., file naming and storage) according to the production's guidelines Meet all deadlines as determined by Line Producer or Production Manager Attend and contribute to relevant meetings and pitches as needed Maybe be required to pitch Storyboards Ensure all storyboard notes are added Assist with special projects Qualifications: To perform this job successfully, an individual must be able to complete each essential duty satisfactorily. The requirements listed are representative of the knowledge, skill and/or ability required. Reasonable accommodations may be made to enable individuals with disabilities to perform these essential functions. Must be able to work digitally Must have full knowledge/skills of the 2 D animation process Must have strong life drawing skills Must demonstrate proficiency in style of show Preschool experience a plus Strong staging and composition skills Strong drawing and mechanical skills Strong draftsmanship Strong time-management skills Ability to multitask a plus EDUCATION and/or EXPERIENCE: Minimum of 3- 5 years storyboard experience and/or training on a similar show; or equivalent combination of education and experience. Please Note: This is an artistic position and a test will be required.

HOW TO APPLY:

To apply for these positions, you must submit your resume online at www.nickanimationcareers.com. Please follow up by submitting a flat book portfolio (do not include any original artwork) and a digital DVD displaying your art directly to the animation studio.  Before we can review your portfolio, you must fill-out a portfolio release form. 
 
To download the form, please go to: http://nas.nick.com/SubmissionReleaseForm.pdf.  
Mail in, or drop off, the completed form along with your portfolio and DVD to:

Nickelodeon Animation Studios
Attn. Portfolio Submissions
231 West Olive Avenue
Burbank, CA 91502

Please include a cover letter and resume stating the position or positions to which you are applying.

Please Note: Due to the high volume of submissions, please do not call about status updates. As a rule, please allow 4 - 6 weeks for processing.

Posing - Storyboard Video Wrap-up

This is the third of three videos in this series that answer the question, "How many poses do I need draw?"

Click on the full-screen button (at the bottom right
of the video), to make the video nice and BIG!

The posing (in these last scenes especially) was driven by the amazing voice performance of Amy Poehler.

 
Amy co-created the character of Bessie (along with Erik Wiese and Cynthia True), and she always threw herself 1000% into acting out the character. Her hilarious comedic performances made it a real treat to work on this show.

Here are some handy links to the rest of this Storyboarding Commentary series:

• #1 - Storyboard Scans and Overview
• #2 - The Establishing Shot
• #3 – The Pan Shot
• #4 – When to Cut
• #5 - Staging and Design
• #6 - The Close-Up
• #7 – The Three-Shot
• #8 - Staging for Movement
• #9 – How Many Poses?
• #10 – Escalation and Contrast

Coming next week: a special announcement about “Storyboard Secrets”……?

Storyboarding - Escalation and Contrast in Posing and Acting

In the previous video, I was talking about posing out a character's actions, and building up the posing to escalate the comedy.

During the cutaway shot to Mary Frances, there is another good example of trying to find the right amount of poses for an action. Mary Frances is going through a short process of thinking and then reacting. I wanted to show the contrast of all of these emotions to give it the greatest storytelling and comedy impact.



Contrast refers to emphasizing the great differences in tone or mood or action. If all of the action takes place at the same level of intensity, it gets boring and numbing to the audience.

Just like the way a good pop song will speed up and slow down, get softer and then louder, the way a scene plays out (and the way a whole story plays out) also needs contrast to keep it interesting.

Notice the different emotions in these panels: from dumbfounded to scheming to thinking to excitement. If these emotional moments were not posed out, it wouldn't be as fun to watch and we wouldn't learn nearly as much about her character.




This is the second of three videos that look at how much to pose out an action. Since there are always a number of different things going on in any drawing, there are also many other topics covered: staging to leave enough room for the biggest action, use of the cutaway shot, prop design, using reference, truck-ins, and the match-cut.

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If you missed any of the previous posts, here are the links:

• Storyboarding Commentary series:
• #1 - Storyboard Scans and Overview
• #2 - The Establishing Shot
• #3 – The Pan Shot
• #4 – When to Cut
• #5 - Staging and Design
• #6 - The Close-Up
• #7 – The Three-Shot
• #8 - Staging for Movement 
• #9 - How Many Poses?
  
• #10 - Escalation & Contrast in Acting
•  

Storyboard Video: How Many Poses?

One of the most commonly asked questions about storyboarding is "How many poses do I need to draw?" The answer usually depends on how important the action is in the telling of your story.

For example, let's say a character is tying a tie. If this action is just a little bit of business, not an important part of the story, you could probably do it in just two poses: in the first pose, the character has his hands on the knot -- and then in the second pose, the tie is tied.

But if you are storyboarding an instructional video about how to tie a tie, you may need a couple dozen poses. That's a pretty extreme example, but it gives you a good idea about how to think about how many poses you need to draw.

This is the first of three videos that look at how much to pose out an action. Since there are always a number of different things going on in any storyboard drawing, there are also many other topics covered: staging, silhouettes, using the cutaway shot to advance a gag or story point.

This scene stands out for me as one of the most fun sequences I've ever had the chance to draw... sometimes it's a lot of fun just to get silly. It's also the best example of using a great vocal performance to fuel the drawings; Amy Poehler was on fire when she recorded the track for this episode!


If you missed any of the previous posts, here are the links:

• Storyboarding Commentary series:
• #1 - Storyboard Scans and Overview
• #2 - The Establishing Shot
• #3 – The Pan Shot
• #4 – When to Cut
• #5 - Staging and Design
• #6 - The Close-Up
• #7 – The Three-Shot
• #8 - Staging for Movement

New Storyboarding Video -- Staging for Movement/More on Backgrounds

After taking a little break to cleanse the palate, we're back with another storyboarding commentary video (Links to the all the videos are at bottom of this post).

The topic of today's video is staging for movement; it's critically important to plan ahead and leave just the right amount of room in your composition for your characters to act out the scene with the most impact.

Click on the full-screen button (at the bottom right
of the video), to make the video nice and BIG!

In these storyboard panels, Bessie starts a series of actions that are going to escalate into a cute little comedy bit. The action starts out when Bessie and Portia are sitting next to each other on the bench. Bessie is so enthusiastic that she knocks Portia out of the way and start frantically putting together cosmetic kits.

Anytime there's a lot of movement in the scene, it's important to leave enough room for the action to really be visible.

Other topics in this video include the use of the "Same As" pose indication, more on background design, the "start pose," and one more example of "The Magic of the Cutaway."

If you missed any of the other posts, here are the links:

• Storyboarding Commentary series:
• #1 - Storyboard Scans and Overview
• #2 - The Establishing Shot
• #3 – The Pan Shot
• #4 – When to Cut
• #5 - Staging and Design
• #6 - The Close-Up
• #7 – The Three-Shot
• #8 - Staging for Movement
• #9 - Escalation & Contrast in Acting

Storyboarding: the Three-Shot

Today the topic is the three shot -- a composition that not only includes three people, but deals with the relationships between them

 

Click on the full-screen button (at the bottom right
of the video player), to make the movie nice and BIG!

The general guideline for when to cut is that you always want to be looking at whatever is the most important thing to the story at any given time. At this point, the dramatic relationship on the screen is specifically between three people: Portia, Mary-Frances, and Bessie.

Other topics in this video include acting, corresponding pairs of camera angles, scene descriptions, contrast as a storytelling tool, and "The Magic of the Cutaway."


Questions or comments?
I'd love to continue the conversation in the comments section below!

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More posts in this
Storyboarding Commentary series:

• #1 - Storyboard Scans and Overview
• #2 - The Establishing Shot
• #3 – The Pan Shot
• #4 – When to Cut
• #5 - Staging and Design
• #6 - The Close-Up
• #7 – The Three-Shot
• #8 - Staging for Movement
• #9 - Escalation & Contrast in Acting

Storyboard: The Close-Up

The storyboard artist is really a director at this point in the production process. It's up to the storyboard artist to direct the eye of the audience toward whatever is most important at any given time.

Click on the full-screen button (at the bottom right
of the video), to make the video nice and BIG!

When the emotion or the reaction of the character is especially important , it's time to cut to a close-up. A close-up can best be defined as a head-and-shoulders shot

There’s no real room for the character to move, so the audience can focus on the expressions and emotions of the characters. The way characters act and react is always very important to understanding the story.

A common mistake of less experienced storyboard artists is framing their shots too tightly. Even a close-up should have a bit of breathing room, unless it is the rare occasion of an extreme close-up.



This also has to do with pacing... it's best to save those high-impact shots were the moments in the story that have the greatest impact.

If a storyboard artist were to fill their board from start to finish with lots of crazy angles, fancy camera moves and extreme close-ups, it would leave no room for the artist to show any real impact when it's really needed. It's all about contrast.

In the next video, the topic is the "three shot" -- and the interaction between three characters.

Questions or comments?
I'd love to hear from you in the comments section below!
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Other posts in this Storyboarding Commentary series:

• #1 - Storyboard Scans and Overview (this is it)
• #2 - The Establishing Shot
• #3 – The Pan Shot
• #4 – When to Cut
• #5 - Staging and Design
• #6 - The Close-Up
• #7 – The Three-Shot
• #8 - Staging for Movement
• #9 - Escalation & Contrast in Acting

Staging and Design – Storyboard Commentary Video

Today's storyboarding commentary video talks about staging and composition; planning out your drawings to leave room for characters and actions. Also, designing props and background elements that aid in your storytelling.

The video window above looks small, but if you click on the full-screen button (at the bottom right of the video), it'll look nice and BIG!

A little bit of planning can make a big difference. This scene was staged with the second panel in mind. Knowing that Mary-Frances was going to enter the scene and admire Bessie’s pile of work, we left plenty of room in that first panel.

One of the best bits of advice I ever received was, “stage a scene based on the widest action.”  It’s usually not necessary to zoom in super close on the characters…it’s nice to leave some breathing room. This allows for nice negative shapes around the characters, and allows you to draw the key players and props with easily-readable silhouettes.

Every character is drawn with a specific expression that reveals their character, and (as we’ll see later) advances the story.
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Yesterday I went through the comments again on the last few posts and answered a ton of questions that were asked there. So if you left a comment before, you may wanna check back on those posts (see links below) to find your answer. If its not there yet, it’ll be coming soon.
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Other posts in this Storyboarding Commentary series:

• #1 - Storyboard Scans and Overview
• #2 - The Establishing Shot
• #3 – The Pan Shot
• #4 – When to Cut
• #5 - Staging and Design
• #6 - The Close-Up
• #7 – The Three-Shot
• #8 - Staging for Movement
• #9 - Escalation & Contrast in Acting

When to CUT? Storyboard Commentary Video

Today's storyboarding commentary video talks about one of the most common questions about storyboarding: when to cut.

As you'll be able to see in the video, it's important to cut closer on a character or an action when they're doing something specific that really needs to be seen.

The video window above looks small, but if you click on the full-screen button (at the bottom right of the video), it'll look nice and BIG!

The general principle that I use is that I try to get as close as possible to show whatever is most important at that moment, while still leaving enough room for any actions that might occur in that scene.


That may mean that the shot is very wide -- for example: if I need to show somebody driving a car around the corner, the shot needs to be wide enough to see all of that action. If I'm trying to show a guy sitting in a restaurant drinking a cup of coffee, I would want the framing to include just the guy, the table, and the cup of coffee.

Cut from Gerald talking on a radio microphone to the broadcast tower, spreading his message across town.

  
It's all about how important the specific action is to a scene. If the man at the coffee shop is putting a couple of creams in his coffee, there is no need to make a special emphasis on that action; so I would not cut in closer on him pouring in the cream. But... if somebody was putting poison into his coffee cup, that's a perfect time to cut in on that action for emphasis.

Cut from Grandpa sitting in car to a closeup of him turning on the radio

  
As you can imagine, this is a pretty huge topic! Since this series of posts is really a quick overview survey of my own personal process, there's not much time to go in to every detail... but if there's enough interest, I can always go back and make a specific post about any particular topic.

I sure appreciate all comments and questions about these videos... it lets me know what you're interested in talking about!


NEXT: Staging and Composition for Storyboards

Other posts in this Storyboarding Commentary series:

• #1 - Storyboard Scans and Overview
• #2 - The Establishing Shot
• #3 – The Pan Shot
• #4 – When to Cut
• #5 - Staging and Design
• #6 - The Close-Up
• #7 – The Three-Shot
• #8 - Staging for Movement
• #9 - Escalation & Contrast in Acting