Directing the story professional storytelling and storyboarding techniques for live action and animation
Francis Glebas, a top Disney storyboard artist, shows how to reach the ultimate goal of animation and moviemaking by showing how to provide audiences with an emotionally satisfying experience. Directing the Story offers a structural approach to clearly and dramatically presenting visual stories. Wit...
| Autor principal: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; Boston :
Elsevier/Focal Press
c2009.
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| Edición: | 1st edition |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627746406719 |
Tabla de Contenidos:
- Front Cover; Directing the Story; Copyright Page; Contents; Preface; Acknowledgments; Part One; 1. The Goal: Why Do We Watch?; Why Do We Watch Movies?; 1001 Nights of Entertainment; What's at Stake is Nothing Less Than Life and Death; Dramatization through Questions; 1001 Nights Entertainment Revisited; Critique: Is It Too Late to Turn Back?; Entertainment Explained; Opportunity from Criticism; What Is the Audience Doing?; Reverse-Engineering Approach; Why Do We Watch and More; Promise to the Reader: Intuition Illuminated!; The Secret of Storytelling is Story-Delaying; Points to Remember
- References2. Common Beginner Problems; Where Do You Begin?; The Catch-22 of the Character-Driven Intuitive Approach; What Can Possibly Go Wrong?; What Do Directors Direct?; The Speaking Metaphor; Show and Tell; Every Shot is a Close-Up; What Is a Story?; What Is Character?; Critique: Introducing Scheherazade; Points to Remember; References; 3. The Beginning Basics; History and Function of Storyboards; Various Types of Storyboards; Production Process; The Beat Board; Storyboarding Overview; Story Reels; The Refinement Process; Pitching; The Gong Show; How to Tell a Story with Pictures
- Breaking Down the Script: What Are Story Beats?How to Storyboard a Scene; Staging the Action; Critique: Scheherazade's Storytelling; Points to Remember; References; 4. How to Draw for Storyboarding: Motion and Emotion; Only 99,999 to Go; From Stick Figures to Balloon People; Walt Stanchfield's Gesture Drawing Class; Caricature; Designing Interesting Characters; The Story Drive of Emotions; Drawing the Four Main Emotion Groups; Miscellaneous Drawing Tips; Drawing for Clarity and the Use of Clear Silhouettes; Mort Walker's The Lexicon of Comicana; Technical Aspects of Storyboards
- Critique: 1001 DrawingsPoints to Remember; References; Part Two; 5. Structural Approach: Tactics to Reach the Goal; Once upon a time; Critique: Developing Character Relationships; Points to Remember; References; 6. What Do Directors Direct?; How to Get Attention; The Map Is Not the Territory; Selective Attention; Keeping Attention; Keeping Structure Invisible: Tricks of Attention; The Power of Suggestion; How the Brain Organizes Information: Gestalt; Director as Magician; Hierarchy of Narrative Questions; Critique: Scheherazade Directs Attention; Points to Remember; References
- 7. How to Direct the EyesVisual Clarity; What I Learned from Watercolor Artists: The Missing Piece of Design; Where Do I Look?; The Design Equation; Directing the Eye with Composition; A Magical Effect: How a Picture Makes You Feel; Light and Shadows; Points to Remember; References; 8. Directing the Eyes Deeper in Space and Time; What Is Wrong with This Picture?; What to Use: Telephoto or Wide-Angle Lenses?; How to Use Framing to Tell a Story; Camera Mobility; Alternative Approaches; A Trick for Planning Scenes; Proximity; Point of View: Subjective Camera; The Town of Dumb Love and SketchUpTM
- Beware of Depth Killers
