Storyboards motion in art
Among the most useful tools in the production of any TV show or film is the storyboard, which is the visual blueprint of a project before it is shot. The director's vision is illustrated in the manner of a comic strip and handed on to the crew for purposes of budgeting, design, and communicati...
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Burlington, MA :
Focal Press
2006.
|
| Edición: | 3rd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009626940106719 |
Tabla de Contenidos:
- Front Cover; Storyboards Motion in Art; Copyright Page; Contents; Acknowledgments; Preface; Introduction; Chapter 1 What Are Storyboards?; Part One Getting Started; Chapter 2 Getting Started; Chapter 3 What It Takes to Be a Storyboard Artist; Chapter 4 Education; Chapter 5 Materials; Chapter 6 Benefits to Production; Part Two The Art of Storyboarding; Chapter 7 Drawing Quick Thumbnail Storyboards; Chapter 8 Sketching Perspective; Chapter 9 Final Storyboard Art and Clean-Up; Chapter 10 Storyboard Coloring; Chapter 11 Presentation Boards versus Production Boards; Chapter 12 Live-Action Boards
- Chapter 13 Animation BoardsChapter 14 Gaming and Multimedia Boards; Chapter 15 Live-Event and Theme-Park Boards; Chapter 16 Laser-Show Boards; Chapter 17 Comps; Chapter 18 Animatics; Chapter 19 Previz; Chapter 20 Styles; Chapter 21 Directing Shots; Chapter 22 Working with Directors; Chapter 23 Screen Direction; Chapter 24 Staging and Composition; Chapter 25 References and Research; Chapter 26 Illustrated Camera Techniques; Chapter 27 Numbering; Chapter 28 Contrast and Mood; Chapter 29 Special Effects; Chapter 30 Conceptual Illustration; Chapter 31 Computers and Software
- Chapter 32 Tricks of the TradeChapter 33 Presentation and Delivery; Part Three The Business of Storyboarding; Chapter 34 Résumés; Chapter 35 Portfolios; Chapter 36 Education and Skills; Chapter 37 How I Got Started; Chapter 38 Who Hires Storyboard Artists?; Chapter 39 Finding a Job; Chapter 40 Prepping for Each Job; Chapter 41 How Productions Work; Chapter 42 What Producers Look For; Chapter 43 Pricing; Chapter 44 Estimating; Chapter 45 Billing Practices; Chapter 46 Licensing; Chapter 47 Trade Practices; Chapter 48 Format; Chapter 49 Agents and Artist Representatives; Chapter 50 Unions
- Chapter 51 Business AspectsPart Four Interviews; Chapter 52 Alex Saviuk, Storyboard and Comic Book Artist; Chapter 53 Mark Moore, Vice President and Senior Executive in Charge of Production at ILM and Former Storyboard Artist; Chapter 54 Sean Cushing, Executive Producer at Pixel Liberation Front and Previz Specialist; Chapter 55 Josh Hayes, Director, Producer, Storyboard Artist, and Art Director; Chapter 56 Tim Burgard, Storyboard Artist; Chapter 57 Woody Woodman, Animated Feature Film Storyboard Artist; Chapter 58 Lyle Grant, Commercial Storyboard Artist
- Chapter 59 Jeff Dates, Creative Director of JanimantionPart Five Exercises; Chapter 60 Exercise 1: Dogfight; Chapter 61 Exercise 2: High Fall; Chapter 62 Exercise 3: Outlines; Chapter 63 Exercise 4: Special Effects Matte Shots; Chapter 64 Exercise 5: TV Western; Chapter 65 Exercise 6: Commercial; Chapter 66 Exercise 7: Animation and Cartoons; Part Six Experiment; Chapter 67 A Storyboarding Experiment; Part Seven Appendices; Forms; Resources; Part Eight Storyboard Samples; Glossary; Index
