“Like a painting, the static image of the frame presents inherent storytelling opportunities.” (Sijll, 2010)
“Screen direction can suggest antagonism, individualism, and conflict, for example. A moving frame might be used to represent change, similarity or dissimilarity, or its opposite, stasis.” (Sijll, 2010)
“As Westerners we read left-to-right. If you rented fifty studio-made movies, there’s a good chance that the ‘good guy’ will enter screen left every time. When the ‘good guy’ moves left-to-right our eyes move comfortably. Subconsciously, we begin to make positive inferences.
Conversely, the antagonist usually enters from the right. Since our eyes aren’t used to moving from right-to-left, the antagonist’s entrance makes usuncomfortable.” (Sijll, 2010)
Having read the book Cinematic Storytelling, I feel like it had a big impact in the way I read the project’s storyboard. The storyboards given to us had good flow and were easily readable. That being said, referring back to the book, I believe some shots could be slightly altered to highlight character traits or emotions and add depth to the environment. Below are a few suggestions from my sketchbook:
Brower, K. (2007). Review: Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know by Jennifer Sijll Van. Film Quarterly, [online] 60(3), pp.95-96. Available at: http://fq.ucpress.edu/content/60/3/95 [Accessed 2 Apr. 2018].
Sijll, J. (2010). Cinematic storytelling. Studio City, CA: Michael Wiese Productions.
Apropos of storyboarding, I found the third edition of Animation Artist to be very enlighting.
“The orientation of the face towards the camera can determine the level of empathy the audience feels” (Jones, 2018)
“Overlaps help create depth. […] Characters advancing to or receding from the camera also give the illusion of 3D” (Jones, 2018)
I used the principles and side tips presented in this issue to inform my process of making and putting together assets for the project.
Jones, M. (2018). The Art of Storyboarding. Animation Artist, (Third Edition), pp.116-121.