Storyboarder - Free Storyboard Software

https://www.youtube.com/watch?v=yJWme1ybGpY

"Storyboarder" works on both a Mac and a PC and is free to download.


Cinematic Storyboard Class Syllabus

https://www.youtube.com/watch?time_continue=1&v=PjmPfnUIVA4

I posted this back in 2009 and decided to re-post it because his work is so good...

If you are a rising storyboard artist, you are making your own film or are interested in how to set-up and stage storyboards, check out Jay Oliva classes. I have heard great things!

One thing many people forget or do not recognize is that drawing is a minor skill when it comes to storyboards. It's storytelling that is king.

Cinematic Storyboard Class Syllabus


Storyboard and Layout | Gigglebug Behind the Scenes Using TV Paint

https://youtu.be/TkCXZbIwoKw

Gigglebug Enternainment team in Finland ! They show you how they have been creating the season 2 of Gigglebug animated series. This week episode is about the storyboard and layout process. Learn more about Gigglebug on www.gigglebug.tv/ Discover TVPaint on our website : http://tvpaint.com/ Try the demo version here : https://www.tvpaint.com/demo Video by Benjamin Cerbai and Elodie Moog. Music Credits : Easy Day by Kevin MacLoed And discover many things made with TVPaint on our social media : - http://facebook.com/tvpaint.developpe... - http://instagram.com/tvpaint - http://twitter.com/TVPaintDev - http://vimeo.com/tvpaint


Editing In Storytelling

https://youtu.be/nnXEIlCrEgA


Back to the Future - A Lesson in Storytelling

https://youtu.be/yWF6Hp44OwY

Let's dissect Back to the Future, in addition to being one of the most fun movies out there, it also tells a pretty great story, and in this episode we explore some of the techniques that director/writer Robert Zemeckis bring to the table.


‘Wonder Woman’ Breaks Glass Ceiling For Female Directors With $97M+ Debut; Earns ‘A’ CinemaScore

Read More Here

5th UPDATE, Saturday writethru after Friday 11:40 PM: After weathering lackluster critical scores and OK fan response with last year’s Batman V. Superman: Dawn Of Justice and Suicide Squad, all is well and correct in the Warner Bros/DC universe as Wonder Woman is both a hit with critics (94% Certified Fresh Rotten Tomatoes) and audiences, earning an A CinemaScore on top of her current $97.1 million opening.

For the weekend of June 2-4, based on late night Saturday estimates:

1.). Wonder Woman  (WB), 4,165 theaters / $38.7M Fri. (includes $11M previews)/3-day cume: $97.1M/Total: Wk 2

2.). Captain Underpants  (DWA/20TH), 3,434 theaters / $8M Fri. (includes $650K previews) /3-day cume: $25.7M/Total: Wk 1

3.). Pirates Of The Caribbean: Dead Men Tell No Tales  (DIS), 4,276 theaters / $6.3M Fri. (-73%)/3-day cume: $21.3M (-66%)/Total:$114.3M/ Wk 2

4.). The Guardians Of The Galaxy Vol. 2 (DIS), 3,507 theaters (-364) / $2.6M Fri.(-51%) /3-day cume: $9.7M (-54%) /  Total: $355.4M / Wk 5

5.). Baywatch (FOX), 3,647 theaters / $2.6M Fri.(-54%)/ 3-day cume: $8.5M (-54%)/Total:$41.3M/ Wk 2

6.). Alien: Covenant (FOX), 2,660 theaters (-1,112) / $1.1M Fri. (-61%)  /$3-day cume: $3.9M (-63%)/Total: $67.1M Wk 3

7.). Everything, Everything (WB/MGM), 2,375 theaters (-426) / $1M Fri. (-50%)//3-day cume: $3.1M (-48%) /Total:$28.1M/  Wk 3

8/9.). Snatched (FOX), 1,625 theaters (-1,033) / $385K Fri. (-65%)  /3-day cume: $1.3M (-68%) / Total:$43.8 M / Wk 4

Diary Of A Wimpy Kid: The Long Haul (FOX), 2,088 theaters (-1,086) / $368K Fri. (-71%) / 3-day cume: $1.3M (-70%)/ Total: $17.9M/Wk 3

10.). King Arthur: Legend Of The Sword (WB/VR), 1,222 theaters (-1,281)/ $322K  Fri. (-64%) /3-day cume: $1.1M (-67%) /Total:$37.1M / Wk 4

Notables:

3 Idiotas  (LG), 349 theaters / $175K Fri. /3-day cume: $597K/Total: Wk 1

6.). Alien: Covenant (FOX), 2,660 theaters (-1,112) / $1.1M Fri. (-61%) /$3-day cume: $3.9M (-63%)/Total: $67.1M Wk 3

7.). Everything, Everything (WB/MGM), 2,375 theaters (-426) / $1M Fri. (-50%)//3-day cume: $3.1M (-48%) /Total:$28.1M/ Wk 3

8/9.). Snatched (FOX), 1,625 theaters (-1,033) / $385K Fri. (-65%) /3-day cume: $1.3M (-68%) / Total:$43.8 M / Wk 4

Diary Of A Wimpy Kid: The Long Haul (FOX), 2,088 theaters (-1,086) / $368K Fri. (-71%) / 3-day cume: $1.3M (-70%)/ Total: $17.9M/Wk 3

10.). King Arthur: Legend Of The Sword (WB/VR), 1,222 theaters (-1,281)/ $322K Fri. (-64%) /3-day cume: $1.1M (-67%) /Total:$37.1M / Wk 4

Notables:

3 Idiotas (LG), 349 theaters / $175K Fri. /3-day cume: $597K/Total: Wk 1


Storyboarding Made Simple - boords

The web-based storyboarding tool Boords has been in beta since last year, and this spring begins a broader roll-out to the general public.


Insight: Brad Bird on Animation

Brad Bird, writer and director of animated films 'The Iron Giant', 'The Incredibles' and 'Ratatouille', gives an insight into his writing process, how he directs animation and why many people fundamentally misunderstand the medium. Subtitles available.

Find out which animated film that one clip was from by turning on the 'English CC' subtitle track.

This video combines excerpts from the three audio commentary tracks on home releases of 'The Iron Giant', 'The Incredibles' and 'Ratatouille', as well as fragments from the behind-the-scenes documentaries. Watching the films prior to watching this video is recommended, but not entirely necessary.

Edited by Kees van Dijkhuizen Jr., © 2016. This non-profit project was made solely for educational purposes, not aimed at breaking copyright law. All rights to all material remain courtesy of their respective owners.


Peter Chung Interview with Ash Thorp

August 15, 2016  —  2 hours, 22 mins

Legendary animator, writer, and director Peter Chung joins us this week to share a candid discussion about his viewpoint on what it is to be creative, working in the medium of film and animation, and what inspires him.

“Partly the reason why there’s so much crap being made is that there are films made by people who are just driven by the process, and they’re not interested in the final result.”

— Peter Chung

6 Story Arcs Define Western Literature, Data-Mining Study Reveals

6 Story Arcs Define Western Literature, Data-Mining Study Reveals

  • “Rags to riches” (the story gets better over time);
  • “Man in a hole” (fortunes fall, but the protagonist bounces back);
  • “Cinderella” (there’s an initial rise in good fortunes, followed by a setback, but a happy ending)
  • “Tragedy” or “riches to rags” (things only get worse);
  • “Oedipus” (bad luck, followed by promise, ending in a final fall)
  • “Icarus” (opens with good fortunes, but doomed to fail)

How to Draw Sci-Fi Utopias and Dystopias By Prentis Rollins

For all those clear-eyed artists, ages 12 and up, engaging in and reimagining this world, How to Draw Sci-Fi Utopias and Dystopias (Monacelli Studio; September 2016) gives an in-depth look at the process of completing sci-fi illustrations—from the thought behind them to constructing basic forms and objects on paper, converting roughs into finished pencil drawings, inking them in, and coloring them in Photoshop. The book is organized around the perennial distinction between two ways of representing the future in science fiction: the pessimistic and the hopeful, or dystopian an­d utopian. A long-time contributor to DC Comics, on projects including Green Lantern: Rebirth, Supergirl, and Batman: The Ultimate Evil, Prentis Rollins teaches that the only way to create authenticity in a science fictional world is to root the imagined in the real, becoming the sole authority on its narrative and rationales. He demonstrates the astounding power of storytelling with 32 step-by-step case studies created and imagined just for this book.

 

HOW TO DRAW SCI-FI

UTOPIAS AND DYSTOPIAS

Create the Futuristic Humans, Aliens,

Robots, Vehicles, and Cities of Your

Dreams and Nightmares

Prentis Rollins

Monacelli Studio

September 27, 2016 • trade paperback

$25 • 208 pages

8½ x 10 inches • 250 illustrations

ISBN 978-1-58093-446-6

 

 


Akira Kurosawa’s Hand-Painted Storyboards

The iconic Japanese filmmaker created more than 30 films, many of which have gone on to become cult classics still cherished today. Before Kurosawa became a world class filmmaker, Akira spent his early years as an aspiring painter. Hit the thumbs to celebrate his legacy with a collection of incredible Akira Kurosawa storyboards.

http://fuckyeahakirakurosawa.tumblr.com/

 

csjsbutwrxfabrloloxt

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isqeikagnfo1kygbo1ie

khhyo2da3oahdq0uz3w6

oxueoi6e9wp1lz7guxbh

sheo2jy8iathlp4ltkex

tufgn45unnhqykuctpxi

vlrhjtbfnsbdbfyxqml0

xutqhvxfzysmeh3dk7fj


Dax Schaffer

How To Make Storyboards that Don't Suck From Dax Schaffer

From Dax Schaffer -

1. Every project is different.
2. Don’t just do talking heads.
3. Don’t get too attached to a board.
4. Remember all the elements you are juggling as a board artist.
5. Keep in mind depth.
6. Have fun. 

Read More here...


Ira Glass on Storytelling

Learning - Ira Glass on Storytelling

Ira Glass on Storytelling from David Shiyang Liu on Vimeo.

I play the above clip for my students every year.

What he talks about applied to any creative venture you attempt.

Original recording below...


Wes Anderson Cinematography

Cinematography - Wes Anderson Centered

Wes Anderson // Centered from kogonada on Vimeo.

A filmmaker who goes by Kogonada was working on a featurette for Criterion on the visual cues from Anderson's other films when he decided to make a companion video. By adding a white dotted line down the middle of the frame, Kogonada's video "Centered" shows off the deliberate composition all across Anderson's filmography.

 

 


Cinematography Lesson - Drive (2011) - The Quadrant System

Drive (2011) - The Quadrant System from Tony Zhou on Vimeo.

 

I love clips that break down shot sin film creatively.  Tony Zhou does a great job on Drive here with this clip... more about him below.

One of the many pleasures of Nicolas Winding Refn’s “Drive” (2011) is that the shots feel both tightly composed and weirdly unpredictable. Even though most of the images follow a simple quadrant system, Refn puts plenty of subtle touches within the frame. ~Tony Zhou

Patreon: patreon.com/everyframeapainting

Twitter: twitter.com/tonyszhou
Facebook: facebook.com/everyframeapainting

Music:
Desire - “Under Your Spell"


Visual Storytelling Workshop Aug 2, 2014 - Burbank


10-11 am Networking 11am - 4pm 
Storytelling Workshop 
Lunch Included
$125 per person

Interview: Rafael Grampá

One of the hardest parts of CG animation is translating the appeal of a drawing to a CG character.

Interview: Rafael Grampá

The award-winning Brazilian cartoonist on breaking new creative ground—partnering with UK studio Red Knuckles to bring his characters to 3D life


Edgar Wright and the Art of Close-Ups

For those you working on your own short films...
the art of the close up broken down by Edgar Wright

Cinderella Storyboard of the Grand Duke

Cinderella Storyboard of the Grand Duke (Walt Disney, 1950).

I love this drawing...


The Café Kickstarter

The Café is an independent short animated film in Production by Dana Boadway Masson (Director) and Terrence Masson (Producer).

Dana has been working with professional animator friends volunteering their considerable skills, while Terrence has been using it as an interdisciplinary teaching project for his students at Northeastern University. A unique and successful collaboration so far!

They have launched a Kickstarter to pay professional lighting/comp TD's and get us wrapped up in time for the 2014 festival circuit.

3D Maya look development - Northeastern Univ. student work

Café sketch by Dana Masson and rough 3D model

Young Woman sketches by Dana Masson and Carlos Arancibia

Small Dog sketches by Carlos Arancibia

Look dev of Young Man's room by Jason Clarke

Gene Kelly inspiration reference


IRON MAN 3 Animatics

IRON MAN 3 animatic
IRON MAN 3 Animatic – Mansion Attack
Iron Man 3 Feature Animatics final scene

Jamie Hewlett

Jamie acting out 2d’s parts from the “Do Ya Thing Making Of” Video

Spider-Man #1 Comic World Record Auction $657,250

Todd McFarlane 1990 Spider-Man #328 Cover Art brings World Record $657,250+ at Heritage Auctions
The highest auction price ever realized for ANY piece of American comic book art; McFarlane’s original cover art for Spider-Man #1 (1990) brings $385,500 as part Shamus Collection of Modern Masterworks
BEVERLY HILLS – Todd McFarlane’s original art for The Amazing Spider-Man #328 (Marvel, 1990) brought a World Record $657,250 on July 26 as part of Heritage Auctions’ Signature® Comics and Comic Art Auction in Beverly Hills. The artwork, showing Spidey demonstrating his awesome new powers on the Hulk, is now the single most valuable piece of American comic ever sold at auction.
“This is an earth-trembling cover illustration and an equally magnificent price,” said Todd Hignite, Vice President of Heritage Auctions. “McFarlane’s art brims with the raw energy that sky-rocketed McFarlane to the top of the industry and, now, the top of the auction world.”
The artwork was sold – along with McFarlane’s original art for Spider-Man #1 (Marvel, 1990), which brought $385,500 – as part of the first tranche of the Shamus Collection of Modern Masterworks, a unprecedented collection of late-1980s and early 1990s original comic book art put together by Martin Shamus, owner of a comics and memorabilia shop on Long Island.
The Heritage auction, which also features the Doug Schmell/Pedigree Comics.com Collection, most of which earlier in the day realized over $3.7 million, and should come in closer to $4 million once the auction has finished.
“The auction is on track to break $9 million and become the single highest grossing comic and comic art auction in history,” said Hignite. “We’re thrilled with the results and especially thrilled for Martin Shamus, who had the foresight and good taste to acquire these pieces more than two decades ago.”
Heritage Auctions, headed by Steve Ivy, Jim Halperin and Greg Rohan, is the world’s third largest auction house, with annual sales more than $800 million, and 700,000+ online bidder members. For more information about Heritage Auctions, and to join and gain access to a complete record of prices realized, along with full-color, enlargeable photos of each lot, please visit HA.com
Hi-Res images available:
Noah Fleisher, Public Relations Director
310-492-8613; NoahF@HA.com


Lost in Scaradise

                                       

Courtesy of screenwriters Bob Hilgenberg and Rob Muir, a rough concept art trailer for Disney’s Pixar backup Circle 7‘s abandoned sequel to Pixar’s Monsters, Inc., Monsters, Inc. 2: Lost in Scaradise.

Thought of You

Gorgeous lines of action by Ryan Woodward. This just shows you how important reference is... but to not be a slave to it and to embellish it and heighten the entertainment with your artistry to create something really beautiful.


Ralph Bakshi: Surviving In Tough Times

Legendary animation director, Ralph Bakshi discusses how he survived the collapse of theatrical animation and offers tips to current animators for how to succeed in the cartoon business. ( ASIFA-Hollywood / www.animationarchive.org / San Diego Comic-Con 2008 )

Shel Dorf Dies

Shel Dorf, a prominent comic-book collector who was the architect behind the pop-culture showcase in San Diego now known as Comic-Con, has died. He was 76.

read more...


Ben Balisteri




Great Work by storyboard artist at DreamWorks...
Ben Balisteri

Boom Studios Brings you Incredibles Comics - March 2009



The Incredibles comics will be released March 25, 2009 and will feature 4 collectible covers spelling out "INCREDIBLES" when connected.

The official description follows:
"America’s favorite family of superheroes finally returns, courtesy of legendary scribe Mark Waid (Kingdom Come, The Flash)! The Incredibles face terrifying new villains…and friendly new neighbors, all while Mr. Incredible hides a troubling secret from his costumed clan. Four connecting cover variants by acclaimed artist Michael Avon Oeming!"
Written by Mark Waid with art by Marcio Takara.


Visual Amalgam Show October 5th - James Gray Gallery

Charge, diptych
Oil Painting on Canvas
96” x 36”
2008

Angela Jones

Visual Amalgam Show: The Film Industry Artist Gallery Event.
James Gray Gallery at Bergamot Station
Sunday, October 5 2008, 5:00pm - 9:00pm
2525 Michigan Ave Santa Monica, CA

The event will provide the public with a rare opportunity to see some exceptionally talented film industry pros exhibit their personal work. I personally invite anyone reading this who will be in Los Angeles on the 28th, to please come by. This is my first show where I will be displaying my new work, and there are many other talented artists in the show. Consider this the artist spotlight posting for September! Many, many artists here doing something creative on the side!

Click the links below to see more.



2D vs. CG


The industry has so many people complaining and talking about how bad the movies today are.  If I don't particularly like something...I just don't post about it.  We have enough of that going on.  So, I try to keep this blog positive and don't comment on things I personally don't like or think aren't quite right.  


However, sometimes points are provoking enough to generate quite a discussion.  Since our book was about Bridging the Gap Between 2D and CG, I thought this was appropriate to post here about a recent point made on the blog - Cartoon Brew.  


Cartoon Brew's bloggers set up an argument that has people talking. If you haven't seen the Bolt Image Post at Cartoon Brew that is stirring up such a fuss yet. Check it out...and be sure to read through the comments. Very entertaining.

After Jamie saw the post this is what he had to say...

"This has to be one of the silliest things I have read in a long time....one is a drawing, one of thousands for a storyboard no one will ever see. Never meant to be displayed in a gallery. The other is a single frame of film, one of thousands, a 24th of a second of screen time, never meant to be shown as a single piece of art in a gallery.
What a waste of time to argue over "which is better".

To quote the immortal words of Will Shatner....."get a life people"


Too give you a little head start...
One of most accurate comments to the post that covers what animators are really experiencing and talking about today, is by Mike Watt.

08/27/08 1:56am
Mike Watt says:


It’s funny that folks are so critical about CG visually when the real issue is abuse of artists and the make it cheaper/faster mentality of studios. 2D had the advantage of the drawing barrier and thus artists could make valid claims for decent wages. The supposed ease at which 3D is learned and the current high level of animation specific instruction has created a flood of new world-wide talent chomping at the bit to work for any major US studio, at any price. Unfortunately, the level of animation has dropped, poses are all the same, timing is the same and characters have become more generic, except for Pixar character of course. But at Pixar, seasoned pros can mould the young talent, or simply fix the scenes, to ensure a certain level of excellence.

A large bulk of the “Bolt” animation staff was laid off before production even wrapped. Most of those lay-offs being the higher salaried animation veterans. Another large number of seasoned pros were put on “probation” which a of course is a thinly veiled threat of being laid off unless they don’t get their act together. I assume by “getting their act together” Lasseter and team expect them to work extra off clock hours like most of the staff at Pixar in order to reach that refined level of animation JL demands. This, my friends, is the big dirty secret about animation and especially Pixar, Pixar doesn’t pay a living wage. I know for certain that 10 year vets have been offered $1650 a week as an animator at Pixar. In addition, a few animators from Bolt are going up to work at Pixar for the whopping sum of $28 an hour. Pixar and JL also don’t like titles, like Senior animator or Lead or Supervising animator. Of course, this makes it easy to keep wages low since an artists has no claims to a place in the studio hierarchy or level of responsibility and thus can’t demand higher compensation for more work.

I can’t even go to a pixar film knowing how cheaply they pay their staff. I am certain it’s a wonderful place to work and I am sure “some” people make a living, but I think Pixar expects artists to take a massive pay decrease in order to have the privilege of working for JL and crew.

So all the hemming and hawing about 2D vs. 3D is silly considering the fact that studios, including Pixar, want more work for less money and a living wage be damned. That’s the issue in animation, not some fabricated medium war.



Artist Spotlight - July - Jamie and Drew


Last month, I decided to spotlight one CG artist a month on the blog who has taken something they love to do outside of animation and turned it into additional income - as inspiration for us all. I started it off with Caleb's Cro Customs Chopper venture. This month, I thought none better than to spotlight my co-author Jamie Oliff. He had an art show of his paintings last month at the Dresen with his friend Drew Edwards.

Jamie and his buddy Drew Edwards met in Canada working on Ren and Stimpy. Both, still have one toe in the animation industry mostly doing storyboards. They created a show together that was held at the Dresden. These are the pictures of the debauchery of the night. It was great fun and Jamie sold all of his paintings.

Proud artists...Look at Drew's shoes! Awesome!

Beginning of the evening as people start to come in...


The paintings in black and white are Jamie's
and the monochromatic color ones are Drew's.


This was one of my favorites...look at the character in his face!


Drew was inspired by the movie swingers for quite a few of his.


Guess who this motley crew is supposed to be?
I will give you a hint - see below.


Samir eyes a painting he wants...and decides to buy it for 600$!!!


Jamie places the red dot to show it's sold!


Very happy patron the arts!


Sarah Bockett's smile could light up any room!


I am obviously talking about something VERY important,
since Drew is listening so closely.