DRAWING FOR ANIMATION- STORYBOARDS

[Music] this is my new dog this is Milo his name's Milo hey Milo I'm just joking her name is June come on Milo right now there are too many tutorials treating people like little babies I'm not gonna do it anymore I'm not gonna hold your hand I'm not gonna treat you like a little child I'm not gonna show you flashy things to keep your attention okay here's what's gonna happen I'm gonna show you what's what I'm gonna show you by the end of this video you are going to have a job in animation as a storyboard artist animation what is it where does it come from by the end of what is storyboarding how does it happen how did I get the job how do other how did other people get the job that I know Oh a lot of you might know this information already but I'm just gonna go over it in order for you to understand what storyboarding is because I didn't understand what it was at first you have to go to the beginning of the animation pipeline in this case we're gonna be talking about animation dude hey hey shut up shut up so cute so right now we're gonna be talking specifically about storyboarding for animation not for feature film or anything like that so it differs in two different fields it differs to which projects you get onto but I'm just gonna go by the projects that I was on now treat you like a little baby we're gonna take this little baby steps writing the script the script comes first here's a little example of the script before any art is done the script is written a long time in advanced most likely all right and once you got all the lines down once you've got all the writing done and figured out then you go to voice acting this is basically the pipeline of what Voltron was so that's kind of what I'm going off of right now a lot of shows do it like this for the voice acting you're going to be putting inflections in specific spots you're gonna be working with the voice actors to get the you're basically getting the acting before you ever have to draw the acting the reason I'm explaining voice acting right now is because as a storyboard artists or a storyboard revisionists you're gonna have to be dealing with the audio clips and what you're drawing it's going to be a reflection of the voice acting all right if they have inflections somewhere you're gonna have to draw that inflection all right and then after that comes the storyboard storyboards basically are the rough animation what you see on the final screen what you see on Netflix or a TV show the final animation wasn't just drawn that way they had to do very rough pitches very rough animations to get to that point and so that's essentially what storyboards are typically storyboards and animation if you have if you have a mass of people working towards a specific project it needs to be a pipeline so there's often more than one storyboard artist and so what that looks like is you're gonna get the script and you're gonna have a highlighted section in that script and you're gonna do that section and then some other storyboard artists are going to be taking care of the other sections once all the storyboard artists are done storyboarding their sections they're all going to turn in their sections to the storyboard director so at that point the director is going to be taking those sections putting them together kind of understanding the overall flow and changing some things here and there so the director basically needs an assistant to help with that and that's called the revisionists storyboard revisionists all right now put a little star right here next to the storm board revisionists because that is the typically that is the the gateway to becoming a storyboard artist and I know a sword boarder business kind of seems like it's up on the the ranking scale right here it's not really it's not it's typically the storyboard revisionists are not paid as much as the storyboard artists but their jobs storyboard revisionists jobs can be a little bit more it can almost be a little bit more difficult sometimes it depends which project you're on on a project there's gonna be multiple sword board directors and multiple sword board revisionists sometimes all right real fast I'm just gonna go over the different types of boards here's this is what it looks like for typical typical storyboards it's kind of this kind of looks old-school here all right that's cool that's an older way to do it it's not necessarily older it's just it's just less complicated all right but now let's take a look at this this is called an animatic it's basically the storyboards put together and edit to look like a it's a rough animation this has movement to it it has timing to it you don't need this you don't specifically need this in a portfolio but it definitely feels nice okay and if you want to go a little bit more complicated than that the kora the team that works for studio Mir the people that animated avatar and kora and Voltron their storyboards which are the boards that I'm learned from I worked with the team as a storyboard revisionists their boards are on a completely different level there are layer movements the characters are nearly finished animation sometimes yeah layer movements camera movements just the whole thing and even this scene right here this isn't even that complex compared to this the boards that I saw in Voltron some of the boards I saw in Voltron were just insane okay let's just go over what the storyboard revisionists job is just very simply the storyboard artist will take the script draw what they imagine is happening all the camera angles all the actions all this stuff but often when they draw it feels kind of loose sometimes things can look a little bit ambiguous the most important shots are the ones where the characters stop moving and they're really close to the camera okay so this shot for example it needs to be very clear the camera is still on this person the character needs to be on model if it's not on model and they send it overseas to be where they send it to the animation studios to be animated if it's not on modeled they may draw it wrong for the most part it's a revisionist job to set characters on model so here's an example this is supposed to be beifong I believe let's just say it was a still shot this particular drawing it may not be good enough it's a revisionist job to clean this up and to put it on model we're gonna take that we're gonna see how our face turns her cheekbones do this her hair is this specific way all right you get the idea okay another part of their job is the director can say look at the specific board here I don't like how her hand is by her side I want her hand to be I don't know blocking her face from an attack or something that's that's also revisionist job to take this arm and move it or maybe right here a lot of times this will happen they say this drawing is good but but her expression is wrong we need her to be more concerned not so angry so it's often a lot of very simple tweaks like that is just moving an eyebrow stuff like that and I'm gonna get a little bit into the software now what a lot of people are using is storyboard Pro that's what I'm in right now I'm currently working on a project that I cannot show but I can still give you examples from this okay we'll take this shot for example Cora was storyboarded and sword board Pro so that means that all these had different layers this fellow was cut out from the background typically to make these shots more interesting what they do is layer movements let's say this character is talking for like a whole minute we're going to do a very slight layer movement let's let's move the background so I'm gonna add a keyframe here add a keyframe here I'm so I've got the background selected I'm gonna go to one of the keyframes and I'm gonna move this background slightly in one of these directions alright now I'm gonna play it back let's say it's talking there's dialogue over this alright there's some movement to that it's not completely still shot it's it's not boring this is also a revisionist job to say the director can say can you go in here and add some background pans to just make it feel a little bit more alive nothing too crazy just a little bit you know or as a revisionist it can also be your job to determine what kind of camera movements there needs to be so right here maybe he's saying something that's a little bit more dire so it's your job to kind of match that mood with your knowledge of cinematography so in that case what you would do you would do a slight truck in which is like the camera is slightly zooming and pushing in on the character so that has a little bit more of a dire feel that's a little bit of what sort of or divisionist do for the most part you don't go straight into storyboarding you start out as a revisionist that's a good thing to do as well is to learn through that process I'm going to tell you how do you how you build your portfolio to that point and I'm gonna tell you how you could possibly go about getting the job I was on a different show at the time I was doing background design but I had a passion for for designing and drawing characters I built up my portfolio geared towards storytelling and character design how is that good for sore bored revisionist at the time my work kind of looked like this you've got storytelling you've got character design you have acting camera usage one thing I will point out that was wrong in my portfolio and not necessarily wrong but I worked on more was the perspective the camera was typically right here that was level with the characters but I should have put the camera up here I should have put the camera down here drawn in crazy perspectives to show that I can do that but the fact was at the time I couldn't do that because I wasn't forced to do that so storyboard doing storyboard revisions that really pushed me out of my comfort zone to where I can do that now I was building my portfolio to have story to have storytelling to show that I could draw characters it wasn't ambiguous I was actually making designs for these characters and that's important and storyboard revisions that's important to show that you can do that because they need people who can match blobs to models and it's okay if you can't do that perfectly all they need to know is that you can work towards that okay that's that's one half of it that's one half of how I got the job okay so now this part is kind of tough and I'm not gonna really explain how I did it because that was a very specific situation I'll explain how I've seen other people do it we got to go back to the graph here so all of this all of this junk right here that's going on it's being put together it's being managed by the production team there's production assistants there's production coordinators there's all types of jobs to be filled and so what they're doing is they're taking the storyboards are taking the designs they're taking all this stuff and they're passing it on to people their file handling they're shipping it they're talking to the directors talking just talking to everybody making sure everything's running properly and this one individual that I'm talking about she started out as a production assistant at the time I was doing background design and I would see her come into work every day she was talking to people she was getting to know the artists getting to know the directors and slowly she was telling them just being honest that she wanted to be a storyboard artist and in this industry a lot of people there they're nice genuine people they want to help out so if you let them know you're gold you show people that you're passionate and you're willing to learn and you're good to work with it all it all really helps and eventually like after a year or two she became a storyboard artist on the show that she was a production assistant on they could see her growth they could see her skills in prove but definitely more importantly she created a relationship with these people I know actually a lot of people that got to be an artist through production it's not the way that you have to do it it's not the way I did it but I know a lot of people have done it that way getting a job in production is a whole new thing and my girlfriend she was actually before she was an editor she was in production so maybe I could make a video about that later to see how you can take those stepping stones into getting into animation it's not the only way to do it but it is a it's pretty effective to build relationships okay the last thing I'm gonna go over how do you think you're how do you okay so if I were hiring on a TV show alright obviously I'm gonna want to see your own storyboards your own vision the only thing I can advise there is that just watch all the animatics that you can watch all the different types of animatic the animatics for Korra and avatar they're amazing to watch Disney has some good animatic Rick and Morty Adult Swim do some research look at animatics look at storyboards and try to learn from them alright that's something that I can't hold your little hands and make you do it you got to you know okay just do that on your own yeah but the only other thing that I can really advise here's a really good example I just looked up Korra model sheet so remember what I was saying before if you remember is that you need to have focus try not to be broad try not to be like well I want to work for Disney I want to work for DreamWorks I want to work for Barney Barbie Polly Pocket this all if you have a passion for something if you have a passion for Disney that means you need to gear your portfolio for Disney let's say you're gearing your portfolio to work for studio mirror for Avatar or for the Avatar team this is what I would like to see as a starting out as a beginning storyboard revisionists I would like to see this model sheet and I would like to see you draw her in multiple perspectives and put her on model so that means you would start off with a mask and then show that you can put the character to model alright and the reason I have Tenzin up here is because I'm using this as reference it's great to have professional reference this is this is often what I would do right here I would do draw through a very basic shape then I would move this sucker aside and then from here I would try to set him on model okay and this is I'm talking about of practicing in a smart way okay there's there's no guessing to this all right you try it you fail then you learn from where you failed so let's say I'm trying to put them to model here there's his arrow there's all this in that blah blah blah and then I will move it back and I will see specifically where I messed up look this I is not in the right spot I will I will try to understand where I went wrong and that's all that is baby it's just understanding assessing the problems and fixing them so I'll go back and then I'll try again all right and it can get pretty boring so it's kind of your job to entertain yourself while doing this happen you have to have fun with it you have to enjoy the learning process or it's not going to work well so it doesn't need to be from another TV show you can create your own characters and you can try to set them onto model okay so here's the other thing as for creating your own storyboards you don't really need to be that intricate about the storyboards if you look at my work what I got hired off of was still frames with still shots it's not anything that has to be moving it just needs to show that you're you're capable of understanding camera and storytelling to a very minimum amount so if you liked this video if you like the content that I'm trying to [Music]

Channel: Ethan Becker

Views: 179,754

Keywords: art, drawings, drawing, how to draw, animation, animation industry, visual development, vis dev, drawing girls, pretty girl drawings, concept art, how to draw faces, drawing expressions, illustration, drawing women, sketching, get a job in animation, animation art, disney art, dreamworks art, how to draw better, how to draw faster, how to draw hands, how to draw anime, how to get better at drawing, how to draw eyes, how to draw hair

Id: -P2xAt9ewK4

Length: 14min 19sec (859 seconds)

Published: Thu Aug 22 2019