The movie in our mind 07/03/2010
 Storyboard sample by Pelotica The best way to present the story we have in mind is through storyboards. We can start out by sketching our story in frames. It doesn't have to be great art. It can be like notes we write in the margins, something that will remind us of what we want to achieve in our script. Storyboarding also helps us to write our script the way we want the cinematographer or videographer and director to shoot the scenes we have in our head. We need to make them "see" what we imagine just by reading our scripts or screenplays. Drafting a storyboard for ourselves will help us translate "the movie in our mind" to the written page. Our knowledge of the specialized language we've learned (like VLS, LS, MS, CU, CUT, SUPER, SFX, PAN, TILT, etc.) will come in handy too. Of course, we don't want to describe too much of the shots we imagine. After all, we don't want to turn off the cinematographer and director by preempting their part of this collaborative work. We just give them what they'll need to "see" how we imagine the story. And if we write our scripts right, they'll get us excited as we are when they read how we write our shots, scenes, sequences, and acts. But first we have to imagine our story right. And so back to storyboarding basics. How do we imagine in a concrete way the scenes we have in our head? Russel Evans, in his book Practical DV Filmmaking (2006), suggests we do the following things in our storyboard. Yes, even if these frames are just notes we make for ourselves to guide our writing.
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MEDA 112Media Arts 112 or "Writing for Video/Television" is a three-unit course that trains students to write for different visual media formats. Students taking the course should have passed MEDA 101. ArchivesAugust 2010 CategoriesAll .
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