As our shoot was cancelled quite early into our pre-production process, I took a break to focus on developing Cones and Rod as well as work for my other modules. Returning to Moonboy, I looked over our initial script breakdown and began refining it into tramlines with consistent continuity which worked within the layout of our location.
I am quite underconfident in my drawing ability and my usual process is to block scenes by taking photos of stand-ins on location. As I was unable to visit the locations, I saw this as a good opportunity to try and learn how to draw better storyboards. I took a Udemy course on storyboard art by Siobhan Twomey which had a strong focus on the practical drawing techniques needed for quickly conveying a story and framing, rather than detailed artistic drawings. The course focused on drawing simple figures in active poses, using stick figures for wide shots and simple, blocky shapes for close-ups. There was also advice on drawing in perspective and recreating scenes from different angles. I found the course allowed me to focus much more on storytelling and framing and I was able to put the techniques to use in my storyboards for Moonboy.
I drew the storyboards in photoshop based on a refined version of the script breakdown and my own knowledge of the location (my parents’ house). I was quite pleased with how they turned out and I feel that, although the figures aren’t great, the drawings get across my ideas for depth and camera angles very effectively. I’m pleased that I now have the skills to sketch visual ideas when I need to and hope to put this to use on future projects.
Having discussed the storyboard with the director, I translated it into a shot list, incorporating estimated setup and shoot times as well as any practical considerations such as daylight and rigging. I also created camera and lighting floorplans which give a sense of the camera and actors’ blocking within the locations.