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  1. #1
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    Post yer storyboards

    I need to do some more samples for my portfolio. Could use some inspiration so post away. Questions, comments welcome.

    Post yer storyboards

    Post yer storyboards


    Post yer storyboards

    Post yer storyboards

    Post yer storyboards

    Post yer storyboards

    Post yer storyboards

    http://www.frameworks-la.com/
    Last edited by tlintern; February 13th, 2006 at 10:02 PM.


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  3. #2
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    storytelling is very clear. Good job

  4. #3
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    I think the boards are way too cleaned up. They look almost to the point of comic design. One of the purposes of boarding is to get your ideas across quickly. Show some life in the drawings.

    I see boarding as having 2 main purposes.
    Setting up shot composition and communicating gesture and these really don't do either.

    Here is a quick crit...
    Frame 1 :
    Look into the rule of thirds and use your hotspots.
    Research leading looks and vectors.
    What the hell is wrong with his arm?

    Frame... all:
    Look into gesture. This is a very hectic scene with the possibility for tons of dynamic movement, but you have his torso straight up and down for pretty much every shot. Take pictures of friends running. Look at them. You need to move past static gestures, especially in action scenes.

    Worry about shot composition. Stage your shots better.
    Avoid the 4:3 aspect ratio and try some images in 720x405.

    In the falling shots, flip one of the people so that they are not both falling the same way.

    Post yer storyboards

    I would go through them all for you, but I dont really have much time... sorry.

    This was a harsh crit. I know it might have hurt your feelings. Get past it, research composition and grow.

    PS. I love your clock tower. I would post/include more of your environments.

  5. #4
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    Bai Fan,

    Thanks for the crit. Pretty harsh but insightful. I think some of those pointers might help me out. I do need to work on gesture. Composition I don't see too much problem but the rule of thrieds is someting I will keep in mind.

    In my defense- some of the boards are too clean. But if I go too loose- no one hires you, at least not professionally. You have to draw fast but it still has to be tight.

    Also, your crtitiquing the pizza delvery scene. Yeah, normally a guy running through an office is going to have some movement in his upper body. But this guy is a dork- he hardly knows what he's doing. It's part of the humor. I drew him stiff to give him a personaility. Think about it. But overall I do think gesture and anantomy are my weak points.

    Oh, and can anyone tell me what is leading looks?
    Last edited by tlintern; February 14th, 2006 at 04:35 AM.

  6. #5
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    Sorry to go into it again, but to counterpoint.

    I have never heard that noone will hire you if you do not have tight storyboards. In fact all I have heard is to keep it loose and flowing while trying to maintain good and clear form, gesture and staging.

    Composition. I will just take the first frame. You have the mans face kindof along the upper third, but is there a reason that you do not have it on a hotspot? If you pushed his face to the upper left hotspot, you will give him more noseroom. If you want to add tension, that is fine, but have a reason why you are doing it. You have the lines of what I am assuming is a building in the background. They are slightly static and are making the feeling flow off to the upper left, not in towards the character. You have a good use of graphic mass with the pizza box, but you could utalize it more effeciently. You could use the box as vectors if you tilted the corner to point at his face.

    If you are interested in storyboarding, buy books like the art of mulan or stories from the creators of Lilo and Stitch. They are both great books with examples of boards by chris sanders. LOOK UP CHRIS SANDERS. His bords are simple, clean, tight but loose and flowing. Truely beautiful art.

    About the character. DO NOT DRAW SOMEONE STIFF TO GIVE THEM PERSONALITY. You are taking it away from them and it will lend for BORING ART. If you are interested in animation, you are really going to need to push the gesture to be interesting in silouette form all the time. Give even dorky characters an exagerated version of stiff and awkward.

    One last thing about staging and composition. Research cinematography.

    Good luck!

  7. #6
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    It's always nice to see someone post some boards on the forums. These are looking great! Here's a few suggestions.
    Post yer storyboards

  8. #7
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    tlintern, pretty good boards... of course I have no experience with them at all...

    I don't mean to hijack this thread....but....

    Dan, always great getting tips from a seasoned professional such as yourself. Such a simple thing that I know I never thought of, thinking in terms of the cameras and lenses in a storyboard... makes sense...

    I was looking through your website and saw the storyboards for Beowolf. Was that for one of the movies coming out? If so, which one? (can you say? I don't know how that works...)

  9. #8
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    Clear, and nice, easy to read. Good job.
    Don't pay any attention to what they write about you. Just measure it in inches.

    Andy Warhol


    RAMIRO

    www.ramzeal.com

  10. #9
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    damn.. why didnt this thread pop up ealier?!?!?!?
    about a month ago I could have used some of the advise given here. had some similar problems in terms of composition (although the direction differed a bit). would love to post mine, but the NDA I signed prohibits this... maybe in a few weeks..

    as for the boards posted here:

    tlintern: I like the clean style, although Bai Fan is right about the stiffness of your characters. My advise would be to look into manga art to fix this little problem.

    Yeah, I know manga/anime isnt very appreciated among most artists here, but I am not suggesting to draw bubbleheaded chicks with big boobs and even bigger eyes here.

    When you look at how mangas are made (highly simplistic comics produced in little time, mostly depicting action scenes) you'll get the idea. I used some of the techniques used in manga comics on my earlier storyboard gigs and got along pretty well.

    as for the clean storyboards statement: utter nonsense.. I've seen storyboards for big budget productions that looked like 30 second sketches made by me (trust me, my 30 sec sketches are not a pretty sight and far away from being clean).

    as long as it succeeds in visualising the directors/cinematographers intentions and getting the message across to the different departments, it will be fine.

    Dan Milligan: always a pleasure to see your art.. hope I'll reach a level of intuity in terms of producing art (such as yours) in the near future

    wow.. I wrote alot... now abck to work..

    cheers,
    Etienne

    "How do you know you're good enough?" "You know." "What if you're wrong?" "You find out."

    *** Help a CA artist! Visit the Critique Center! ***

    MY HOMEPAGE

  11. #10
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    mabye this isn't the right place for this, but, hey Jason Manley PLEASE let Dan do a DVD about storyboarding PLEEEASE!!

    Dan: thanks man, i learn tons from every panel i see from you. this time they even come with explanations... i'm happy.

    tlintner: you're on the right way, keep it up!

  12. #11
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    Hey thanks for everyone's input. This is great!

    Dan- wow! That was crazy to see someone redraw the boards. Thanks for the pointers.

    I was checking out your site and wondering what mediums you are using. Some of it looks digital some of it doesn't. At any rate you get a lot of black in your storyboards and it has a nice texture. What is that you are using?

    Thanks again everyone!

  13. #12
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    Yay... story boards... I'll try and do some!

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