This is how I go about creating storyboards for clients. A bulk of the work happens on the pages of the script I receive. That is where I break down the action, storytelling and pacing of the boards. I do this by sketching little thumbnails in the margins of the script next to the descriptions and spoken lines. For this part of the process I like working with the director to best and quickly capture their “vision” for their film. Once the thumbnails are approved I move on to what you see above. I sketch out the roughs at full size with a bit more detail from the thumbnails, after that I draw over the rough and clean things up. Next I drop away the rough sketch revealing the clean drawing and if there’s time, I add some gray tones and gradations to it to give it some depth and lighting.
Sometimes clients have very small budgets and/or only give me a very compressed schedule to work on these projects, so what ends up happening is they might only get the roughs or clean drawings. If it’s a super rushed job and the project is lengthy, then thy might only get the thumbnails. It all depends on how put together things are by the time they want me to create the boards. I’ve had clients that had reference photos of all the locations, key props, actor head shots and a clear vision for their project start to finish. Those are pretty great gigs to get. Others sometimes have nothing really worked out and expect miracles, those are the ones that end up getting tough when they have high expectations and expect for you to somehow read their minds. My goal is always to do the very best for my client. They have chosen and put their trust in me to help them with their project and I don’t take that lightly. My job as the storyboard artist is to meet and hopefully add to and exceed the goals and aims of the directors and producers. A good storyboard lays things out not just for the director but for everyone involved in the production and ultimately saves everyone time and money.