WOW! FloobyNooby has just posted a very detailed and extensive breakdown from Pixar’s Incredibles of “ how the relationships of all the visual elements on. Apr 25, Flooby Nooby: The Cinematography of “The Incredibles” Part 3. Oct 9, Flooby Nooby: The Cinematography of “The Incredibles” Part 2.

Author: Tauzahn Kajijora
Country: Guinea
Language: English (Spanish)
Genre: Medical
Published (Last): 21 January 2017
Pages: 316
PDF File Size: 8.10 Mb
ePub File Size: 15.48 Mb
ISBN: 166-1-79150-931-3
Downloads: 41375
Price: Free* [*Free Regsitration Required]
Uploader: Kezragore

Suddenly you notice a whole lot more lines than the partially filled piece.

Look at these thumbnails by David Gemmill, observe the dynamic poses and silouettes he creates within each drawing. If a storyboard artist were to fill their board noboy 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.

In these shots, the filmmakers are telling a story from multiple depths, as well as filling the screen from left floob right.

The same can be said for storyboard artists, it takes years of practice to become very effecient with your pencil or stylus pen, to visually display a layout of a shot, the weight of a pose, the emotion in a posture, the basic shapes and forms that make up the clear and effective composition of a scene with as few lines as possible. Most storyboard artists and animators follow this method as a basic principle for planning out the acting and motion of the animated characters – their attitude and behaviors become expressed through their physical body.

There’s no way I’m going to waste my time drawing all those falling Krabby Patties until the final drawing below. Its ultimate aesthetic impact was to impart a floooby of looming doom, about a city collapsing upon itself with individual morality and societal cooperation hanging precariously in the balance.


In Batman’s horizontally wide field of view, the converging lines give the audience the impression that this large, expansive world is looking at its characters and challenging their moral fiber. Here’s a tiny Post-it thumbnail above followed by marker rough, fooby by the final storyboard drawing.

Pa thinks you’re too wild and dangerous But I don’t know how to make that idea start with a “C” so piss off. Check out this short sequence by Megan Nicole, Straight-forward and effective body language and expressions, with simple shot compositions that help to tell the story. Move it from the middle: It can transform a line drawing with a lot going on into a simple composition that everyone knows the focus of instantly.

So I always suggest that short film directors look at TV commercials for inspiration as how to tell a thirty-second story clearly and effeciently.

Cut from Gerald talking on a radio microphone to the broadcast tower, spreading his message across town. The larger the character is within the frame, the more powerful they seem. Even a close-up should have a bit of breathing roomunless it is the rare occasion of an extreme close-up.

How to Draw for Storyboarding

Storyboards are an essential process for all forms of animation. The clean-ups shown here are actually cleaner than what you would usually draw for storyboards. This line should always be used in setting up a pose, as you can see in the pic below, I get a wide range of emotions with no faces using only their bodies.

We sometimes see what we want to. I suppose this is just a reminder to push yourself at every level Kubrick rarely used a long lens, favoring superwide fields of view to exaggerate the feeling of claustrophobia and accentuate the converging lines of perspective. In general, the bigger the conflict, the more that is at stake in your movie, the bigger the odds against your characters, the more interesting the story.


Ron Doucet

This kind of dynamic posing sure beats the hell out of characters standing straight up and down all the time. Of course, I’m not suggesting that if one should start applying the rule that he or she will instantaneous achieve breathtaking, beautiful results; as always it is a case of careful observation as well as a floobj of other equally important ingredients like lighting, colour, framing, perspective, space, balance, depth, and leading lines that truly bring out the full effect, no doubt what Fooby Fincher and Darius Khondji did this when shooting Se7en.

Click on any of these drawings to see a BIG full-sized scan! Great commercials are made with a ton of economy, discipline and smart choices. By the time of “Raiders of the Lost Ark,”Slocombe was a veteran cinematographer, with a rich and varied filmmography in both the United States and in England, and both in black and white and color, and was nominated for three Academy Awards including “Raiders”.

Flooby Nooby

This is a good example of not drawing lots of detail until you know that the shot works. In Stanley Kubrick’s “The Shining,” for example, the converging lines of perspective gave the film a claustrophobic feel, as if the walls of the Overlook Hotel were literally collapsing onto the mind of Jack Torrance Jack Nicholson.

Sometimes the mind seems to trick us into thinking a certain line or shape is different than exactly what you see in front of you. Storyboards are a bit different than all other forms of illustration.