Class 4 - Story - Storyboarding
Motto: Story is Hell

Guest Lecturer: Mark Andrews

Project History: Iron Giant, Spiderman, Incredibles

Story:
	Production is the easy part, it is quantifiable, story telling is unquantifiable, unfathomable, its the hard part.

	Many types of story, but we're focused here on *Visual* Story Telling.

	One can graph a story, begining, middle, end, intensity vs. time.  Exposition -> Climax -> Resolution.

	Story is about one thing - CONFLICT.

	A staircase of mini-conflicts along the path of the story.

	So to a visual story teller, how do you depict conflict?  Answer: Contrast and Affinity.  Contrast yields intensity, and Affinity yields less intensity.

	Visual Components: (tools to help you tell a story) (Have an emotional impact, instinctual response)
		Space
			Deep:
				Depends on the number of references for depth
			Flat:
				No perspective (the chalkboard)
			Recognizable vs Ambiguous Space
				Abstract spaces don't register until we see an item we can map
			Theatrical
				managed behind the invisible curtain (the presenium wall)
		Shape
			Shape in Storyline: 
				Exposition use circles, to squares over story build, 
				to triangle for the climax.  
			Circle: Safe shape, smooth
			Square:
			Triangle: Most dangerous, sharp edges
		Line
			Horizontal
			Vertical
			Diagonal
			Line Quality
			Screen Division
				symetric (middle) division
					consider the following progression
					horizontal division: neutral, scene setting
					vertical division: more intense
					diagonal division: even more intense
				assymetric (square in a rectangle)
					vertical: One part diminished, one part emphasized.
					vertical over the shoulder shot: how much room to you give
					horizontal: place the horizon for effect
				division in thirds
				division in grids
		Tone
			Tone in Storyline: 
				Tones can be tied to characters
				Tones can be tied scenes (climax, conflicts)
				Tones tied to places
			Tones close together have affinity (black and black, white and white, etc)
			Disimilar Tones have contrast
			
		Color
		Rhythm (visual)
			shot a -> shot b -> shot a -> shot b -> shot a -> shot b -> SHOT C 
				Lots of emphasis if you break the rhythm
		Movement.
	
	Contrast and Affinity
		Within the shot
		From Shot to Shot
		From Sequence to Sequence
		These can blend and over-lap
			Within an overall sequence plan, the shot sequence could employ
			a contrast and affinity story board, and each shot could have
			some punch.

Asides:
	180 degree rule, don't ever turn the camera 180 degrees or you will disorient the audience.  Yes, but this is not a hard and fast pattern... you could break this rule to add conflict.

Demonstrations
	A walk thru of storyboard examples of Mark Andrews.  Emphasis on use
	of line, space, and contrast to yield contrast and affinity.

	Walk thru of films:
		Star Wars IV (Lucas)
			Opening sequence (shape)
		Raiders of the Lost Ark (Spielberg)
			Opening sequence (numerous visual contrasts, visual rhythm)
		Lord of the rings (Jackson)
			Sequence when they transition from garden looting to confronting 
			the one of the 9 horsemen.  (transition from light tones to 
			dark tones)
		Unforgiven (Eastwood)
		Shawshenk Redemption