Story Boarding

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Story Boarding

Spider-Man 3 (2007) Directed by Sam Raimi


    I've learned that storyboarding is crucial in constructing a movie and planning the scenes in terms of lighting, camera movement, editing, and storytelling. I realize the difficulty of this craft and the immense amount of time it takes to create a storyboard and a movie. You not only need to draw the scene but label and explain what is happening for it to be easily executed when production happens. It's like a map since it helps you guide throughout the filming process. Movie directors cannot wing their moves but need to strategically plan to create an understandable flow of shots. For example, the Cool Peter Parker scene from Spider-Man 3 (2007), which I chose to storyboard, consisted of a crosscut, which is when it goes back and forth between shots between Peter Parker and Dr. Conors on a phone call. This is hard to achieve without prior planning, which is exactly what storyboarding is used for. I honestly got sick of drawing the phone call because I was drawing the same exact thing but slightly different each time. However, it is definitely significant for movie directors because they might not be able to incorporate a specific type of transition or shot sequence without planning, so storyboarding provides immense help in this long process.  

    Storyboarding has numerous challenges due to figuring out what you want, time consumption, and drawing the details and scenery around it. However, it must be easier for a professional rather than a high school student. Overall, I had many difficulties throughout my storyboarding process. It took me a substantial amount of time of about six hours, and my hands went completely numb by the end, and my finger ached. I had a total of 34 shots with camera movement so that added extra time to draw Part A and Part B of one shot if it was too hard to display. Imagine an entire movie having to be storyboarded when I only did a two-minute scene. Furthermore, I had trouble using the Studio Binder template because the boxes to draw in were not the same width as in the movie, so I had to calculate how to fit them in. I rarely draw people either, especially hands, so in the process of indicating what they are doing while free-handing and with no tracing, I nearly died. When I was done, with one page and 45 minutes had passed, I knew I was in for a ride. Plus, I had to scrap my original storyboard of The Meg (2018) because it had 50 fast-paced shots with intense camera movement, and the scenery was unideal to draw due to the circular structure with lines crossing each other in the interior. Basically, I hope to never do this again because it took a huge chunk of time, even with the class time provided.












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