The simplest storyboards are those that depict the key moments of a scene frame by frame. The first visual draft is developed simultaneously to the writing of the script or right after the completion of the script. The developers are not necessarily members of the art department known in the West, but often independent designers. For the most part the first visual drafts are the responsibility of one person who – working together with the director – lays down the key visual elements. The work sometimes takes place with the presence of the director and is often strongly schematic since the permanent discussions result in the frequent changing of frames. However it can also happen that the director develops the first sketches himself. After the completion of the first drafts a more detailed version can be produced which not only contains the key scenes, but also the full visual rhythm of the shots – however its dramaturgical function stays invariant. The traditional storyboard has the advantage of offering an overview of the whole film; it lays down the plot and is able to outline the moods, thus providing a fundamental visual reference. However it also has the disadvantage of not being able to account for the elapsed time – not even with extreme frame density. We can label the individual pictures with index numbers relating to time or plot, but the ability to adhere to these is in many cases questionable. However the major concern is that the processes in our brain can only convert the visual draft of the plot to motion picture for an extremely short period of time, thus it is difficult to decide how long a particular scene could take and how it can be fitted into the whole storyline. Nevertheless there is a minimal possibility of documenting the camera movements with added graphical symbols.

  concept art
storyboard with cinematic elements
camera-movement analysis
'brave new world project'
kamen anev copyright 2010