The full title is Directing the Story: Professional Storytelling and Storyboarding techniques for Live Action and Animation. Note that it's directing the story, not directing the movie, and the emphasis is on the story.
Directing the Story: Professional
The goal of this book is to help you get your audience "lost in the story" of your movie. It details a lot of professional directing techniques and principles to help aid storytelling. The writing is clear and Francis Glebas even storyboarded a whole short story to serve as an example, in addition to the many examples already provided.
Using storyboards as a primary tool, he goes through the various storytelling techniques used in films , like ways to pace/cut scenes, introducing themes and story structure subtly, directing the audience's eyes, creating characters people can related to, etc. Francis Glebas then breaks down these high level concepts into many smaller easy-to-understand points to focus in depth.
"Francis Glebas has put together a really comprehensive and thought-provoking look at the art and craft of film making, specifically directing. His approach, which is to ask a lot of seemingly innocent questions, has much the same effect as the good storytelling he is trying to teach us.it draws us in and makes us think. I can't imagine anyone, in or out of our business, who won't find any number of helpful ideas as they work their way through the filmmaking jungles!!"--Roy Disney, Director Emeritus and consultant for The Walt Disney Company "Francis Glebas was one of our most talented storyboard artists at Disney, and it was our great fortune to have him on the story team. He has a wealth of experience to share."--Jeffrey Katzenberg, CEO, Dreamworks Animation
This book has a lengthy title and it covers a lot of ground. Storyboarding is really nothing more than directing with visuals. This is used in live action or animation, and either way the process is very similar.
Artist Giuseppe Cristiano has worked in the industry in various roles that include storyboarding and directing. These two skillsets overlap greatly and he took his knowledge into print with his book The Storyboard Artist: A Guide to Freelancing in Film, TV, and Advertising.
Each chapter introduces new concepts and workflows for the professional storyboard artist. You also get plenty of illustrations courtesy of Giuseppe that showcase the different styles of boards from movies to animated shows and commercials.
Early chapters introduce basic tips with sample illustrations to help you understand proper storyboarding etiquette. This is crucial for young artists who have no experience in the industry because your portfolio needs to look as professional as possible.
The latter half of the book compiles interviews and tips from professional storyboard artists. This section is the most important for artists who have the skills but want to find ways to break into the industry. In this regard I would highly recommend Professional Storyboarding for anyone who wants to make this a career whether in animation or otherwise.
You still get plenty of information on the cinematography of storyboarding with camera angles, character poses, and relevant compositions. But if you need to go even deeper into professional storyboarding this book will get you there.
Industry veteran Bruce Block has over 30 years of writing and directing experience in Hollywood. He wrote The Visual Story as a structured guide to anyone working in the entertainment industry whether live action or animation.
Francis Glebas has put together a really comprehensive and thought-provoking look at the art and craft of film making, specifically directing. His approach, which is to ask a lot of seemingly innocent questions, has much the same effect as the good storytelling he is trying to teach us.it draws us in and makes us think. I can't imagine anyone, in or out of our business, who won't find any number of helpful ideas as they work their way through the filmmaking jungles!!- Roy Disney, Director Emeritus and consultant for The Walt Disney Company
Francis Glebas has put together a really comprehensive and thought-provoking look at the art and craft of film making, specifically directing. His approach, which is to ask a lot of seemingly innocent questions, has much the same effect as the good storytelling he is trying to teach us.it draws us in and makes us think. I can't imagine anyone, in or out of our business, who won't find any number of helpful ideas as they work their way through the filmmaking jungles!!- Roy Disney, Director Emeritus and consultant for The Walt Disney CompanyFrancis Glebas was one of our most talented storyboard artists at Disney, and it was our great fortune to have him on the story team. He has a wealth of experience to share.- Jeffrey Katzenberg, CEO, Dreamworks Animation
Some film directors started as screenwriters, film editors, producers, actors, or film critics, as well as directing for similar media like television and commercials.[19][20] Several American cinematographers have become directors, including Barry Sonnenfeld, originally the Coen brothers' DIrector of Photography; Wally Pfister, cinematographer on Christopher Nolan's three Batman films made his directorial debut with Transcendence (2014). Despite the misnomer, assistant director has become a completely separate career path and is not typically a position for aspiring directors, but there are exceptions in some countries such as India where assistant directors are indeed directors-in-training.[21][22]
Many film directors have attended a film school to get a bachelor's degree studying film or cinema.[23] Film students generally study the basic skills used in making a film.[24] This includes, for example, preparation, shot lists and storyboards, blocking, communicating with professional actors, communicating with the crew, and reading scripts.[25] Some film schools are equipped with sound stages and post-production facilities.[26] Besides basic technical and logistical skills, students also receive education on the nature of professional relationships that occur during film production.[27] A full degree course can be designed for up to five years of studying.[28] Future directors usually complete short films during their enrollment.[16] The National Film School of Denmark has the student's final projects presented on national TV.[29] Some film schools retain the rights for their students' works.[30] Many directors successfully prepared for making feature films by working in television.[31] The German Film and Television Academy Berlin consequently cooperates with the Berlin/Brandenburg TV station RBB (Berlin-Brandenburg Broadcasting) and ARTE.[32]
A handful of top Hollywood directors made from $133.3 million to $257.95 million in 2011, such as James Cameron and Steven Spielberg,[35] but the average United States film directors and producers made $89,840 in 2018.[36] A new Hollywood director typically gets paid around $400,000 for directing their first studio film.[37]
There are many different awards for film directing, run by various academies, critics associations, film festivals, and guilds.[52] The Academy Award for Best Director and Cannes Film Festival Award for Best Director are considered among the most prestigious awards for directing,[53][54][55][56] and there is even an award for worst directing given out during the Golden Raspberry Awards.
The directing of cinematography includes both the camera shots and the lighting to obtain both a particular type of effect and mood. The director also has control over the editing to create the pace, rhythm, coherence, story, and character development they and the producer want.
Creatives need to forge meaningful connections with other creatives. Networking gives you the chance to gain inspiration and learn new techniques from experienced professionals, and potentially hear about or land new opportunities. Connecting on social media platforms like Instagram and LinkedIn is a friendly, low-pressure networking method, but in-person events like conferences, workshops, and art fairs can pave the way to valuable connections too.
In January of 2022 I did a scary thing and left my first post-PhD job without another position lined up.* I knew I needed to take a hard pivot from the jobs I was most obviously qualified for and spend time exploring what else I could do with my professional skills, expanding them if necessary. I am now three weeks into an absolute dream position that I never would have known to look for back in January. I have learned a ton about career development during these past seven months, in large part thanks to others sharing their stories and offering to extend a helping hand to me, and I hope to pay a bit of that forward with this post. If I get the time I would love to turn this into a series of posts, but we\u2019ll see, for now I am going to give a succinct list of actionable career development advice based on things that have worked for me. I am going to generalize this to be applicable to as broad of an audience as possible, but it is probably most relevant for people who have a STEM PhD.
Become a professional socializer. In the era of Zoom you should aim to be able to \u201Chop on a quick call\u201D at the drop of a hat and have a conversation with anyone that leaves the impression that you are intelligent and enjoyable to talk to. Sound intimidating? Ya it is, but practice helps. I forced myself to have 1-4 \u201Cchats\u201D a day with professional strangers for over a month. This served a lot of important functions: network building, career exploration, and social skill tuning. It also served to keep my eye on the prize. Every day that I talked to people who had interesting careers reminded me how badly I wanted that for myself, and how capable I was of achieving it.
If you have made it this far then you are likely toying with the idea of a job change. I would be remiss not to acknowledge the intense emotional impact of being in this place. I personally don\u2019t like writing about my emotional experiences publicly, but I am happy to chat about it individually. It is easy to read articles like this and think \u201Cit all worked out for that person, why can\u2019t I ever have any luck\u201D and sink into despair. I\u2019ve been there. It is okay to feel all of that, but also use that feeling as motivation to keep pushing forward because luck is a combination of timing and preparation. If you dedicated many years to your schooling then you deserve to be professionally fulfilled and it is within your power. 2ff7e9595c
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