The following is from an article by Martin Asbury in Network Nine News.  www.network-nine.com

Martin Asbury

A good storyboard artist has to know, understand and love film. He has to think like a camera and draw pictures as stills of movement. He has to tell you all you need to know about what you will see on screen but leave that little bit out for the imagination and invention.

Cutting my speed to 150 m.p.h. I fly low in a sweeping curve, banking with my crimson cloak streaming out behind me. I swoop in a wide graceful curve over the Film Studios dropping down and landing lithely in the car park on the balls of my feet – like a cat.

The security guard outside the Production Office instantly recognises me. “Thank God you’re here!” he exclaims.

As I stride into the office the Co-ordinator screams with delight. “Thank God you’re here!” she squeals. “The Director – he’s in his office” she smiles wanly. “Go on through.”

Brief, firm knock on the door and I enter. The man at the desk is slumped, his head in his hands. He raises his head, grey faced rheumy blood shot eyes staring at me.

“Storyboardman! Thank God you’re here!” he says. “No problem sir.” I reply. “I’m here to help.”

Quickly I undo my compact drawing tools, sitting opposite him and fixing him with a reassuring yet piercing gaze. I open my sketch book.

“Now what’s the first sequence in the script?”

In the past the making of a film was governed by the script. It was honed and nurtured and worked upon, re-written and re-written. When completed to everyone’s satisfaction it was almost set in concrete. It became the Bible – but these days there appears to be more impediments and pitfalls than ever to this process. Constant writing and re-writing of the script through the prep period can only increase the budget and cause wasted effort. I tell stories in pictures – I have told stories in pictures for all my life. So, if I were asked to direct a film, I would for sure write or draw down what I wanted to do before shooting any sequence – a shot list or stick figures.  It is common sense. Nobody in their right mind would walk onto set with no preparation and no plan.

All those people waiting – all the actors, the producers, the first second third fourth fifth sixth and seventh assistant directors, the lighting cameraman the gaffers, the stage hands, the assistants, the stand-bys – well, you know how it is.. and you are there with nothing in your head..  everyone looking..  it doesn’t bear thinking about!  So, the need for storyboarding becomes obvious.

Over the years they have been used extensively, from ‘Gone with the Wind’ and virtually every film since. On the basis that one picture tells a thousand words, a finished board shows everyone what the director has planned, what they have to do, where they have to be and what they are going to try and achieve.

The Director leans forward conspiratorially. “I need something really dramatic for the opening sequence.”

I tap my pencil. “How about an extreme top shot craning down to a quick track then pan followed by a jib up, jib down low angle Steadicam handheld Skycam sort of locked off shot which favours the star?” I say.

He gasps. “Is that possible?  Can we do that?”  

“We can do anything.” I reply.

Storyboards are not gospel. They serve as a starting point. They can be, and often are, discarded when events or maybe better options present themselves on the day. They can show what to do but, more importantly, what not to do. A whole 360º set might not be necessary to build. A scene can possibly be cut without detrimental effect to the story or can be revealed as being too costly. They can show whether set or location, when explosions and other special effects might occur or how, for example, to shoot the double of the star in one location whilst at the same time the star himself is shooting on another set elsewhere. They can show how to heighten drama with oh-such-cunning angles and camera moves and, of course, are almost indispensable to the ubiquitous car chase. They save time. They save money.

A side door opens and a large-framed man is framed in the frame. I frame a clever remark but the Director leaps to his feet.

“Problem solved!” He bellows. “Thank God for Storyboardman! What we’re going to do is: an extreme top shot craning down to a quick track then…”  

“Stop!”  The Producer steps forward, face grim. “Slow down! We may not have the money for it.” 

“But..but.. “ The Director gulps. “What about my dream?.. my vision?”

A successful storyboard will reflect the director’s vision, the concept that he has nursed for many months and translate it into usable workable drawings which the whole of the production team will understand. Everyone hopefully singing from the same hymn sheet. To achieve this the artist should try and get inside the director’s head – not to second guess him but to realise his dream for the first time in a visual way.

That sounds grandiose but nevertheless is essentially true. The storyboard is the very first time the script is translated into pictures.

Every director is different and every director wants something different. Some will be most specific about the way they see a sequence down to precise angles, framing and composition. Others will talk you through the scene detailing particular shots they are anxious to include -; a pan here, a track there, low or top shots, the lens to be used, the composition needed -and the storyboard artist will then make the smooth transition and join up the dots.  Others will allow complete carte blanche and the artist can make his own individual pass at the scene, presenting his own take to the director for perusal and criticism. Rarely in such a case does the director accept the offer-up completely and he might not like it at all – but usually much more discussion follows until he is satisfied. He may accept some of it, alter and revise bits or just cherry pick what he wants. All the time though, he is the sole arbiter of what is finally presented to the film’s producers and the rest of the unit.

The Director, leaning against his desk. “We cannot proceed unless we have a plan.”

Storyboardman  “… and I have that plan.”  Quickly I stand up. The Producer’s eyes widen as he takes in my perfectly formed body. 

I am resolute.  “Let me explain.” I say. I outline my extraordinary idea and with every second see him slowly relax, taking it all on board. I finish talking. I am satisfied.

He lowers his gaze. “You really are the one.” He mutters. “Truly  you are wonderful!  I never would have thought of that.”

The storyboard artist is to the director what the concept artist is to the designer. He is a utensil, pure and simple. If he is worth his salt he will support and aid the director in all his endeavours. If successful, his boards can save a huge amount of money and prevent an equal amount of heartache. If nothing else they can offer up a back stop – a safety net if you will – and be the building blocks to gain the most out of any given sequence. They can kick off discussion or decision.

Nowadays with the advent and growth of the use of Previs, the line between the two approaches has become somewhat blurred. Previs are fantastic. They can be totally accurate in that they can demonstrate what any scene will look like from any given camera position, any lens, any lighting source. Clearly a wonderful tool for any director. At the moment they are expensive and take quite a while to produce but I am sure all that, in time, will change. When that day happens maybe storyboards per se will cease to exist – but I hope not. I still feel that the immediacy of drawing to the director on the spot cannot be substituted. A sudden change to shooting requirements can necessitate an instant storyboard. The good artist can block out a whole sequence in a couple of days and provide a cost-effective kick start for the whole creative process.

I quickly draw 1000 frames a day and complete the whole film in two weeks. Needless to say the whole of the production team is overcome and in awe of my dexterity and expertise.

As I present the final sequence to the gathered company the Producer rises to his feet his eyes watery and sad.

“Hey you guys – the Production Company has decided that they are against the whole idea. They are pulling out. We’re not going to make the film after all. See you on the next. Sorry about that….”

A good storyboard artist has to know, understand and love film. He has to think like a camera and draw pictures as stills of movement. He has to tell you all you need to know about what you will see on screen but leave that little bit out for the imagination and invention. An accomplished storyboard is good for what it tells you. If it is drawn well with excitement feeling and vigour then all to the good but it is all about information and communication. For that is why we are all involved in this business. We inform, we communicate, we tell stories and all in pictures.

Martin Asbury’s credit list as a Storyboard Artist includes such films as: ‘Malificent’, ’47 Ronin’, ‘Skyfall’. ‘Snow White & the Huntsman’, ‘The Cold Light of Day’, ‘Captain America’, the ‘Harry Potter’ series, ‘Quantum of Solace’, ‘Wanted’, ‘Casino Royale’, ‘The Da Vinci Code’, ‘Batman Begins’, ‘Die Another Day’, ‘Resident Evil’, ‘Chicken Run’, ‘Entrapment’, ‘Tomb Raider’, ‘Alexander’, ‘Troy’, ‘Michael Collins’, ‘Labyrinth’ and ‘Legend’.

He also took over as the artist for ‘Garth’, the cartoon strip in the Daily Mirror, from 1971 until its final episode in 1997. www.martinasbury.com