What have you done to get closer to your goals? Fledgling ideas edition.
>Useful Resources
learnaboutfilm.com
nofilmschool.com
youtube.com
youtube.com
youtube.com
filmmakingessays.tumblr.com
imsdb.com
screenwriting.info
>Free Screenwriting Software
fountain.io
story.adobe.com
storywriter.amazon.com
trelby.org
writerduet.com
celtx.com
>Active Contests
screencraft.org
tblaunchpad.com
Other urls found in this thread:
youtube.com
youtube.com
nofilmschool.com
nofilmschool.com
purgetheory.blogspot.com
twitter.com
"One of the toughest parts about screenwriting is not smoking or binge eating" - Me
Sorry to hear that man. You've still got that one other student that you might be able to use though right? I know there y'all might've had some issues but hopefully you can get past it to make your short.
If you can't get in on the funding do you think you might be able to pull some people together to make it anyways?
I meant to add this to the OP, but if you're looking for a way to make story boards from real pictures you can use the Prisma app on iOS or Android and then use the Heisenberg or the Curly Hair filter to get a cool sketched style (or one of their other filters if they match your tone). The idea came into the threads by an user who posted this picture.
>52 different posters last thread
I already consider that a victory tbqwymgf
Speaking of this app, how about we add a "Movie making on mobile" section. I'll add this app, and I know of Filmic Pro on iOS but that's about all I've got (I shoot on my DSLR but would like to have this as an option for new users). Anyone have other recommendations?
I know right? That's almost a 30% increase from where it was last week. The quality of most of the posts was pretty good too. I'm excited for how we're doing.
I just saw a locally made feature yesterday on the big screen and holy fuck was it bad. The plot was nonsensical, the acting was terrible, the pacing was insane and most of the film was too fucking tight on the actors and out of focus.
All in all it was one of the worst films I had seen, yet it got a standing ovation. Honestly it motivated me to make my own film to blow it out of the water. Will I fail? Probably, but I'm gonna try.
Yeah I do. I'm going to contact her real soon. Just gotta finish up some other stuff and dinner. I'm honestly a wee bit paranoid she'd jack my script. How do you protect your stuff? Do you go tinfoilhat mode and ask everyone to sign an NDA? I trust others but this girl has a hint of beef and a small company of friends.
I'm honestly not sure on that. I could try to wing it as best as possible but I'd have to ask a lot of people to work for free and I would probably not be able to muster adequate equipment. If I can't, I highly suspect it'd be shit. On the other hand, waiting would be in my best interest cause I could have more time to garner interest, prepare most of the application beforehand and take my sweetass time doing it and also have time to both write more scripts and learn about directing better. If I can't get it now, it's best I wait, even though I loathe the idea.
Do you not think it's a bit hokey to use filters like this? I mean, the point of a storyboard is to be functional, not gorgeous looking. It's pointless if it does not translate to the finished product. In fact, it can get in the way by distorting the sense of the shot. Making it seem better than it actually is. You know?
Just a few concerns.
Would you actually make an entire film using a filter like this? How do you elevate it beyond being a gimmick?
There's a lot of dick sucking and insincere networking in filmmaking. It's my least favourite aspect. I want to be an independent so I appreciate support, but I hate the hugbox crap.
Yeah the guy who made it is really popular and powerful in our filmmaking community so I can't publicly slag it off. Not sure what to say if he asks me what I thought of it
Not him but I do believe it would be a great thing to use for a movie of any length. You can use it to have a movie done in a comicbook strip style. Think of the Harbingers or Warlords videos Blizzard did for Warlords of Draenor and Legion. It's like that. Lots of stills pieced together with dialogue, timed audio and the like.
The story needs to be suitable for the style of course, but it has merit. It's another potential tool for filmmakers. Plus, storyboards don't need to be basic. As you said, functional. As long as they achieve that purpose, they could be done however.
That's a great question, and honestly it comes down to the person using it to a certain degree I'm sure. I personally like it because the stock pictures I'll pull off of my phone are not always great and this hides the blemishes and problems and lets me focus on the framing and the types of things around and in the shot.
It also makes it more engaging for the other people that I'm trying to convince to participate in a project with me. If I come to them with cool looking sketch filtered photos they're more likely to like it than the somewhat washed out or poorly lit images I might get from my phone normally.
I don't think I'd shoot an actual film using this (not that you could, it only takes pictures) but A Scanner Darkly had a similar look to this but it was done with rotoscoping.
I would be interested to take a video, split it into frames and run it all through this filter to be recombined into a video and see how it looks but it would probably be too gimmicky for a full feature.
youtube.com
Nabbed from one of my previous posts in the other thread. It's worth watching, has everything you described.
I've never been in a situation where I thought someone would take my script but I would say that that kind of thing is not common despite how frequently you'll see people afraid of it happening to them on screenwriting forums.
If you are worried about it though I believe there are screenwriting repositories where you can upload your work and it will mark the date and you can use that as evidence of original creation. In the US if you write something you automatically have the copyright, I'm not sure how it is in Malta. Probably having evidence of sending her the script via email or something should be enough if she were to steal it and you were to pursue it legally but I am not a lawyer.
Waiting definitely might be your best option. In the mean time in addition to working on your script and getting people involved you could also start experimenting with some of the lighting and camera stuff we talked about yesterday and see which ones might work.
I'll keep my fingers crossed you don't have to wait though!
Wow, that actually works a lot better than I ever expected it to. I retract my earlier statement about it being too gimmicky. I think this could be used in some very cool ways if you had a strong vision.
lmao that guys talks like he's mocking someone
Forgot to reference the last post in the OP, here's the last thread
Smile, say "Great film", shake hands and move on to whatever topic advances your own interests. - that's how to tow the line anyway. Save your honesty for people who will appreciate it. My hope is that I can figure out how I can minimize my contact and be as independent as possible. Tough racket.
Haven't heard of those films unfortunately. I know sometimes heavily filtered films sometimes make a splash, and then a bunch of people follow suit. Not saying that's always the case, but, it certainly happens. And it's unattractive, you know? It's like someone trying to make a Tarantino film. They have to find a way to avoid being derivative (unless of course it's merits outweigh this, which is rare for unestablished filmmakers)
Anyway, I agree that tools are tools, but sometimes I get the feeling a lot of modern tools replace hard work with convenience, which produces mediocre films. At least that's what I think.
I think what I've already said speaks to your comment too. Again, if you feel passionate about these filters, and have a well thought out reasoning behind their use, go for it. I'm just a little cynical about the story telling usefulness of these filters. They seem to have a lot of potential for just making somethinglook "cool". which is a bit hollow. I'm probably a bit of a snob.
>It also makes it more engaging for the other people that I'm trying to convince to participate in a project with me.
See, this is a double-edged blade for me. If they're more convinced by the same image just essentially photo-shopped, then I'd be worried I was just blinding them with cool effects. It also undermines the responsibility of the filmmaker to be convincing, and to learn how to communicate their ideas well.
Anyway, I' won't go on about it any further. The only point I'm trying to make is be wary of being bewitched by apps and gadgets. They stray from the heart of filmmaking.
You can't really blame anyone for being paranoid considering the amount of time and effort it takes to come up with something decent and refining it over what could be years. I'll look into that before I contact her though, it's worth informing yourself beforehand.
And yes, you're absolutely right on the practice bit. While it would be a bitter pill to swallow and feels like wasted opportunity, it's up to me to use the time wisely to better myself.
If I DO have to wait, I'll try something with Prisma myself.
youtube.com
This is what I mean by comicbook strip style. You don't have to run Prisma through every single frame like the BBC clip I linked, but you can take single frames from a recording and piece them together like a comicstrip. with good audio and editing stitching them together.
I do agree with you though. There's a lot of love for shortcuts in the industry. this is why I generally dislike CGI and love animatronics. the first Jurassic Park still looks fucking amazing, not to mention the effort and ingenuity required for that is still impressive. Or the adorable as fuck teddy bear from A.I (greatest character in that movie, fuck I love him). He's completely animatronic and so well-made he can hold a pencil in his little bear paws. This was in 2001.
here.
The average Joe friend of mine doesn't see something the way a filmmaker would and the image I'm getting out of my phone is not representative of the image that I'm going to get out of my camera and stylized story boards are not like what I'd get out of those devices either.
Every filmmaker when trying to get their movie made brings something stylish to the executives to sell their story. Whether it's a look book, trailers cut together from other movies/TV shows etc. or anything else. They're all ways of getting to the same place.
It is very rare that a studio buys a product based exclusively on the script or the fast talking kid who wants to make it.
I don't mean this insultingly but I think you might just be a bit of a Luddite who doesn't see the similarities between this and other common filmmaking techniques. People used to say that color was a gimmick and sound was a gimmick.
My general position is that anything can be used for good or for gimmick and it's up to the artist to use it appropriately. Some will, some won't but I don't waste time worrying about it.
Oh yeah, I definitely can't blame them for being afraid. Shark attacks basically never happen but the ocean still scares me. I just try to always remind people that it *probably* won't happen. It's always good to take precautionary steps though.
Why did you point me back to the comment that I was already responding to?
Anyway, I could well be a Luddite. But that's not what I'm saying here, I'm not saying it's bad, I'm being cynical of how easy it is. I think there's far more potential for passing of a second rate piece of work as engaging because its eye grabbing, than there is for using it tastefully to enhance a film and tell a story that could not be told without it. That's all. I'm neutral on any tool, I'm skeptical of what attracts people to them.
Selling a story is important. Selling to average Joe friends is different from studios of course. I don't know much about the latter, and am not so interested. It depends on how commercial you want to go. I'm not interested in that direction whatsoever. BUT, there is a mutual interest in using local talent. I guess it depends on why you would want to involve people who would only participate after having been blown away by some flashy images, especially if those images were constructed purely as a selling point, and may not even have an impact on the film. Isn't that kinda skeevy?
>My general position is that anything can be used for good or for gimmick and it's up to the artist to use it appropriately. Some will, some won't but I don't waste time worrying about it.
This sounds like exactly the poor attitude I'm talking about. Just do whatever it takes.
Whatever it takes to do what? Make an honest piece of cinema? Be a success? Just get a film out there whatever it is? These are not negligible differences.
bump
I was just saying who it was that was responding to you.
Why does something have to be difficult for it to be good? It won't be engaging in anyway but visually. It won't suddenly make the story good but it might make for an entertaining visual piece which isn't inherently a negative. Avatar is a great example of a visually impressive movie with a subpar story. Nobody thinks Avatar was the best movie ever made but they do think it was a marvel to look at.
What attracts me to Prisma is that I get a storyboard sketched look without having to be able to draw or hire an artist. There are uses for it beyond that but that's the purpose for which I posted it in this thread.
I'd like to involve my friends because they're the only people that I have that I can get involved in these shorts. I'm not trying to mislead them in anyway, I'm trying to get them to not focus on the image as it looks exactly more.
If I show someone the original shot in picture related all they're going to be able to see is blown out lighting, bad color etc. and it will frame their opinion of the idea poorly. If I show them either one of the highly filtered images they'll focus more on the image in their head knowing that that's not what it will look like on screen.
It's the same reason filmmakers use story boards as opposed to realistic animation or cell phone pictures to show how they'd like to do a scene. When you have a sketched out stylized image of what it looks like people focus less on the image and pay more attention to the idea.
It's the same reason that graphic designers use lorem ipsum text in documents instead of test editorial or excerpts from books.
>Just do whatever it takes.
What are you talking about? Where did I say do whatever it takes?
I said that some people will abuse tools just to look cool but I don't care. I care about what *I'M* making. It would be a waste of my time to worry about what wacky thing Tommy Wiseau is trying to do to make a cool film.
Forgot to attach the image. Here it is.
Ah I see. Sorry. Sperged out. Thought you wanted me to read it again or something.
I think Avatar's extensive and painstakingly developed visual effects can't be compared to slapping a filter on something, you know? You're right though, hard doesn't equal better, and easy doesn't equal bad. Not necessarily anyway. But there is something to be said for someone having to put mental effort into making something with merit. Slapping a filter on doesn't count. That's all I'm saying. You still have to think of what content you'll filter, and why, and how it changes the shot. I just worry that people use easy answer to avoid having to put this sort of work in. Maybe that's what you want? If so, more power to you.
Getting a "look" though. Again, I'm only warning against these things distracting from what's important about storyboarding. That's all.
You can always go online and try to find people to be involved in shorts. People who want to be involved in projects like this, and won't necessarily need much convincing. It's better to be in a position of picking the right people for a project, than it is to be trying whatever it takes to get some people involved who might not even add very much at the end of the day.
>If I show someone the original shot in picture related all they're going to be able to see is blown out lighting, bad color etc. and it will frame their opinion of the idea poorly.
This is only true in two instances. People who have have no innate interest and as such need to be directly entertained to be convinced. And people. Or people who are interested, but you can't bring them beyond what's lacking in the images to the realised vision through your words. I'm sorry, but it is a trick.
I think the reason storyboards are sketched is because they are literally sketched. No other reason. Many shots will contain actors, so taking picture before shooting makes no sense. So they draw. I'll cont. in next comment.
post your current script progress
pic related, only took me two hours
I don't think it's in order to distract from the failings of a more realistic image.
As for the just do whatever it takes, it's just what I inferred from your closing remarks in the previous comment. You're saying that using these tool can be gimmicky or not, but that that doesn't concern you. Sorry if I was off the mark, but you don't really seem to be getting my criticisms either. It's just the nature of discussing things in on Sup Forums. I retract that part if it makes you feel better.
I am so glad my idea is actually being advocated in these threads, I'm really happy about that.
On a side note my editor decided she couldn't do shit because of some severe depressional issues so looks like I'll have to go somewhere else on that front. I'm still excited about getting this project running. My two future roommates agreed to be the leads so I lucked out there.
I think you're taking all of this a bit too far. I wasn't equating this filter to the process of making Avatar, I'm just saying that something can be visually interesting without necessarily being a well done story or movie when looking at *all* parts.
No one is saying that slapping a filter onto something makes great art or that you shouldn't put any effort into the framing and lighting of the final shot.
I don't know why you're so convinced that I'm trying to avoid doing work or only want easy solutions when the *only* thing that I've said is that I think this is useful for making story boards. You're turning using a filter to simulate storyboards into some huge fight for the soul of art and nobody is disagreeing with you on that.
These filters simplify and remove almost all elements from a shot except for outline and shadow, that's exactly what you want out of storyboarding. You don't want people focused on all the lighting and color choices etc. You just want them focused on the basics and not assuming a random cell phone picture is what the final shot is going to be.
I'm thinking that you don't have much experience with working with clients on media. I work for a company where that's all we do across web and print. Whether it's a website or magazine mock ups you want simple blocks showing where things are and you can figure out the rest later. Like I said, it's the purpose behind lorem ipsum text.
I don't want strangers, I want my friends. My friends are interested in working on things already but because they're not artists they can get caught up on tiny details in pictures and removing the details is beneficial to them seeing the overall idea.
To be honest, I hate to say this, but you're just wrong. I'd recommend that you do some research into why simple, sketched/outlined storyboards are good as opposed to overly detailed ones. Quite literally *everyone* in media disagrees with you.
Go and google best practices for story board design.
>I think the reason storyboards are sketched is because they are literally sketched. No other reason. Many shots will contain actors, so taking picture before shooting makes no sense. So they draw.
Guy who did it originally here. I actually did it specifically BECAUSE I had no actors, and wanted to have sort of a baseline for what I'd want images to look like. The sketch thing just helps me classify it in my mind more easily as a storyboard than an actual picture. That example shot, my MC is supposed to be looking at a bag of chips in the middle of it. I didn't have my main guy, so I took a picture of the setting/shot he'd be in so I remember the angle later on.
Okay, fair enough to at least the first half of this comment.
I just think it's kind of gross, but I can see how in a fast paced industry driven environment it might be a necessary evil.
You're what good storyboarding is, but whatever. Must be nice to have quite literally everyone agree with you. Good luck with your film.
Learn to edit yourself and you never have to worry about that shit again (it's ironic I'm giving this advice since I have a professional actor friend who criticises me for doing much and overworking myself)
Oh no I can edit just fine I just don't have access to any editing things at the moment since I'm taking a break from college and their free subscription to Creative Cloud only works if I'm actually taking classes there.
A human being is not a storyboard and storyboarding is not story telling. It's merely showing locations and shots and the intended structure of a scene.
It's not story telling in the same way that a three act structure isn't story telling. It's architecting a design for making the story you've already written.
It's also not everyone agreeing with me, it's me having learned what the industry uses various tools for and encouraging best practices to other budding filmmakers.
It's not as good as Premiere but you can use Davinci Resolve for free and it has an option for configuring it to look like Premiere. It should work pretty well for most basic film stuff. It even has a multi-cam feature if that's something you may need.
Alright, I'll look into it. Thanks famiglia
bump
I've been trying to adapt Shakespeare, but he's just so fucking boring.
You are not welcome here.
How much more would I have to pay an actress (mainly just some random 25 - 30 year old with little to no acting experience) to fuck an old guy in a scene or two for my feature film?
There's little dialogue throughout the film and likely only one other recurring character.
Shut the fuck up, kid, for Christ's sake. Shakespeare is boring.
You're not better than anybody.
And I'm not allowed in these threads that I created the OP for? Get out of here.
Find an actress and then ask her.
Insecure much?
Ask an NYU grad anything
>Can't handle the slightest banter
>Thinks his (ignorant) opinion is fact
>Projects wildly
Cringed tbhfam
Birdbrains guy here.
Im only starting to flesh out my idea for a feature film, I wanna do something that would require a small set like a cottage and a nearby village or woodlands so Im going to have it be about a guy who can't leave his house for long without being affected by a curse.
>Not doing the reverse
Parentheticals are ok when using them like this, when someone's on the phone, right?
DAVE (V.O)
I'd use V.O.? I thought that was for narration?
five scenes on four pages before i ran out of steam
DAVE (O.S.)
(over phone)
Use off screen, and keep your phone note, bc it's important to how Dave will sound in the scene.
You idiots. You can either say (O.S.) or just (Over Phone) or something like that. But don't skip the line
also, that dialogue is horrible.
>tfw fucked with the post-production of my movie entire summer
>tfw got it rendered on the same day of premiere
>tfw the premiere was a success and it was projected near-perfectly
>tfw now feel hollow and empty inside
What's so horrible about it?
One liner critiques are useless, at least give a little insight and suggestion if you wanna laud your opinion like that.
where did it premiere?
I dont get it. Why are we letting this guy (its one guy) fold /swg/ into this Frankenstein amalgam shit thread? He wasnt even aware that /swg/ existed on Sup Forums since 2009 and he barges into /swg/s to redirect people to his combo thread. It makes no sense. I invented /swg/, leave /swg/ out of this before i fucking dmca your dumb ass. Ive contacted hiro
Sõpruse
Small cinema in Tallinn, Estonia.
lol
Just read it, man.
It's flat, it's obvious, it lacks subtext.
Try this instead
Harry
Lemme come help
Dave (OS)
We're fine. It's just getting harder living here. The kids are tougher now.
Harry
Could be a hate crime, considering your work.
Dave (OS)
I catch whoever did this, he won't be able to understand his rights by the time I'm through. Alex looks like he's gonna miss the rest of the season. [? wtf]
Dave (OS) (cont'd)
Harry? You there?
Harry
(no response)
>scene
look, it's hastily written but you gotta give them flavour, subtext to what they're saying, etc.
To continue, you should read good scripts. Tarantino's Inglorious is a great one. The characters have voices, and personality, and depth. You're not writing a novel, you can't offer that depth through narration or prose or descriptions - so it HAS to be through dialogue.
Is he actually cursed or is it just a mental agoraphobic type thing? Seems like an interesting idea but what's gonna happen inside his cabin?
That means you gotta do it again user. Congrats on getting it screened and it going over well though. That's huge! See if you can get it submitted to festivals as well.
Here's the idea I'm currently developing
>At a popular tourist destination, MC starts work at a hotel, having got the job from his friend who works there.
>At this hotel he starts noticing strange habbenings.
>One day his friend disappears misteriously.
>He starts investigating and uncovers a conspiracy to keep abducting people who work at this place.
>He follows the conspiracy all the way to the top and discovers it's a scheme carried out by some weird NWO cult that is secretly pulling all the strings in the city, and their ultimate goal is to turn the whole city into one big amusement park
>also they abduct people to feed their mutant frog overlord which they use to hypnotize important people so they do their bidding
I'm currently trying to think of ways and situations that would flesh out the main themes: >Tourism devouring the local populace
>People being sheep to evil overlords because they need the job
>not seeing the real bad guys because of prejudice (MC thinks his friend fucked him over but he was trying to help him, also gets help from some russian people while one of the bad guys is an american)
>basing your perception on logical judgements and not popular opinion (everyone thinks MC is crazy but obv he isn't)
Any input is welcome.
The subtext is there, but since it's just an excerpt, the context is missing.
And by "Alex may miss the rest of the season" he's referring to football season.
The subtext is that Harry's stepson, Charlie, was responsible for this and Harry just put 2 and 2 together.
That's context.
Subtext is *how* they say their lines. Think about how you speak, how you interact with people, how people interact.
Nobody ever says what they mean, and never means what they say. Everyone curates or filters their dialogue in some way or another.
Just dig deeper, give them some flavour man.
Best trick is to read it all aloud - you'll spot clunky bits like that.
No way
Really random, but I was in Tallinn last summer for a bit
Nice city, but I was staying mostly in the old town
Did you get a lot of cute boipussy during your time there?
Hah, yeah old town seems to be the main tourist attraction here. Out of the old town, it gets really weird, unless you like Soviet architecture.
I'll give it another look, thanks.
But the guys in this scene are a supporting character and bit character.
give. them. flavor.
give everybody flavor - otherwise it'll read like a Steven Segal flick
Im gonna play around a few concepts but if I go with the curse, I'll be going all out on it. Im thinking along the lines of ressurection, brought back from gruesome death every time but the catch is that he will always return to the cabin, and he can't go out for long without deteriorating and dying again.
Ouch. I'll keep my eyes open for any posts about what you decide to make the rest of the plot look like user.
Congrats user! What's the script about thus far? Getting beyond the blank page is a win anyway you look at it.
I have to submit a piece of film work for my application to study film, any recomendations? I don't know anyone who I can use to act so it's basically a one man operation.
Tarantino's scripts aren't exactly the best for beginners. They teach an informal, easygoing style, which doesn't really sell too well.
Same with Shane Black.
aside from all the other stuff people are saying about the filters, it's pointlessly limiting for you as a filmmaker to construct storyboards out of pre-existing pictures unless every single frame is exactly how you envision it (which seems amateurish to me in the first place -- it's much more helpful to go through the process of developing your own frames)
t. storyboard artist
Developing your own frames would require you to be able to create sets or find environments that match what you've had drawn. That's not possible for most budding filmmakers. Most of us are working with what is immediately and freely available to us.
Beyond that finding someone willing to draw out your short or feature if you're not a capable artist yourself is another hurdle to jump over unless you have the budget to pay them. Considering the fact that most shorts are made with no budget this is an unlikely development.
That's not to say that it wouldn't be hugely helpful and more professional to be able to hire a storyboard artist, I'm sure that it would be, but it's kind of like telling me I should hire a sound guy because my DR60D Mk 2 and Rode NTG2 attached to a modified painter's pole isn't professional and limits my sound quality.
I can't tell if you're in favour or against it.
Also it's apparently not a filter at all. It's an AI of sorts that draws the photo from scratch by using the original as a base. Of course in practice there's little to no difference but that's pretty cool~
Read your first Syd Field book or something?
Post your WIP fagmo. Your posts are cringey, Can't wait to read your stuff.
For what it's worth, I draw my own story boards
I can draw sorta, but rarely consistently and definitely not quick and detailed
But I draw slightly more than stickmen (and I mean 'slightly') just for the sake of shot composition and blocking and it works fine
Don't get me wrong, it still takes time but it improves the quality so much for me that it's easily worth it
I was here last night discussing this script i'm writing for a project my teacher has (I study arts and design) and the script is going pretty well but she got one classmate to do a storyboard and i think he's overworking the drawing and it's slowing down the pace of the pre-production.
Does anyone has examples of storyboards from films i can download and show him? He never did storyboards.
how can he storyboard without a script?
The script is 80% done, he's doing the first scenes now, dude's lazy.
Cause of your sweet dubs I'll post some:
nofilmschool.com
nofilmschool.com
And the storyboards with notes referenced in the first one:
>would require you to be able to create sets or find environments that match what you've had drawn
No, it's the reverse of that. You draw within the confines of what's available to you. If a budding filmmaker doesn't have access to the locations in the script they need a different script. Storyboards aren't concept art pieces that go into insane detail, they're like visual shot lists to reference so that everyone on the production is on the same page in terms of how the visual space is being used. They're to make sure the director and DP have a clear vision of the what they want to capture.
>finding someone willing to draw out your short or feature if you're not a capable artist yourself is another hurdle to jump over
A well-drawn storyboard will do leagues better for a production, but even speaking as a professional, they can literally be stick figures. Drawing is an underrated way of understanding 2-d space and I believe that every filmmaker should know how to translate their ideas visually with pencil and paper, even if they're the shittiest drawings imaginable. As long as he knows what he's shooting. Using stock photographs or even self-taken photographs doesn't fulfill the purpose of a storyboard. It captures action, angles, movement. It's a rough blueprint.
I am against using stock images as storyboard frames, much less putting unnecessary filters over them to entice people. That's not a storyboard, that's a mood board. Completely different. The ones being posted don't even fit the aspect ratio of cinema.
Don't get me wrong, do whatever works, but some things will yield a better, more fully-realized piece of art than others.
>, much less putting unnecessary filters over them to entice people. That's not a storyboard, that's a mood board.
Thank you
Thanks dude. I feel a little vindicated.
Come on guys, it's not about being vindicated here. We're all trying to be civil and learn from each other. Yeah some of us have differing opinions and we can feel very strongly about them but let's just accept each of us has different ways and ideas on how to go about this stuff.
In the end, a good movie is a good movie because of every factor working together well. That can be any mix of anything and everything. The end movie is important, but the process being so variable is part of the beauty and art of film-making, no?
That's pretty nice, thanks
If you're drawing within the confines of what you have then what is the difference in filtering a picture of the location? You said that was limiting but if you're drawing within the same confines then you're not any more limited at all.
>self-taken photographs doesn't fulfill the purpose of a storyboard. It captures action, angles, movement. It's a rough blueprint.
What can you not achieve using pictures? Anything that you draw can be easily placed within the frame of a camera as well if you're only working with places that you have available to you.
>I am against using stock images as storyboard frames, much less putting unnecessary filters over them to entice people. That's not a storyboard, that's a mood board. Completely different. The ones being posted don't even fit the aspect ratio of cinema.
Who said anything about stock photography?
I don't think anyone is saying that this is a perfect solution but it is a decent enough solution for what some of us need it for. The only real complaint is that it doesn't fit within the aspect ratio of typical films but that's so small of a quibble that I don't even care.
>a good movie is a good movie
Yes, the problem is that good movies are few and far between where shit movies (and I don't mean bad movies, I mean shit movies) are abundant.
I appreciate the sentiment but if I look around and see that people aren't taking proper care to understand and plan their film, that tells me their product is far more likely to be shit. In this game of everyone and their grandmother being a filmmaker, no one can afford anyone else making shit work. Either make the whole process good to make sure the movie is good or do us all a favor and don't make it at all.
You shouldn't.
Yeah, lets stop everyone who doesn't use Arri Alexas, SoundDevice mixers, and Lowel lights from making films!
>what is the difference in filtering a picture of the location?
A filter literally does nothing to bridge the gap between script and screen, which is what the storyboard does.
>What can you not achieve using pictures?
Movement.
>doesn't fit within the aspect ratio of typical films
>so small a quibble that I don't even care
fucking kek
One word you'd do well to study up on: composition.
I'm sorry my dude, I know I'm sounding like a condescending ass. But this is really just baffling if you plan on producing something. All of your points just tell me you're an amateur and you won't get better until you understand the importance of what I'm saying. It comes from a place of great love for your artistic development and subsequently the quality of our medium.