In a nutshell, a storyboard is a shot-by-shot portrayal of how a film (or sequence within a film) will play out. Like a comic panel, events in storyboards are sequenced using squares containing visual representations of each shot. Typically, each square is accompanied by descriptive lines, clarifying dialogue or the essence of the image.

A storyboard’s main purpose is to act as a pre-visualization tool for creators to plan the movement, camera angles, composition and even pacing for a scene. Essentially, storyboards act as visual roadmaps, giving production departments a clear sense as to how sequences are to be played out. Having been sketched out before actual filming begins answers questions and saves time during physical production.

Storyboarding traces its roots back to the early 20th century when the Walt Disney Studios pioneered the concept of creating a visual representation of a story prior to any actual filming. The term “storyboard” emerged from the process of arranging illustrations on a piece of paper or board to express the flow of a narrative. Initially used in animation, storyboarding eventually expanded its reach into the live-action world.

Let’s break down the “why” of storyboarding even further…

Storyboards are the fastest, most effective way of conveying an artistic vision to a crew. By relying more on images than words, storyboards speak a universal language that tell stories visually, cutting right to the core of the idea a director is trying to express. 

While crafting and building storyboards themselves can sometimes be time consuming, ultimately they’ll save time by eliminating the need to explain (and re-explain) a creative intent. It’s also far faster to revise a storyboard than a staged shot or completed sequence.

Having all of the visual elements clearly displayed and in sequence creates a lucid scenario that leaves little room for questions. A good, clear storyboard provides the crew with a vivid visual scenario of how scene mechanics are meant to play out. Ensuring all the scenes are present and set in sequence also avoids the possibility of accidentally leaving out any shots.

There are two types of storyboards: thumbnail and traditional.

A thumbnail storyboard is a fast, rough sketch to provide a sense of how shots will work together. There’s less detail involved in these types of sketches as they’re more involved in the sense and feel of a sequence. Once an approved look at rhythm is established as this stage, storyboards can progress.

A traditional storyboard is a more fleshed-out version of the visual sequence. Elements are specifically drawn and images are presented with greater depth than in a thumbnail. This is typically the version that gets presented to a larger group, as detailed images can create a more vivid example of the way a narrative should play out.

A storyboard consists of five parts:

1. Subject
2. Background
3. Camera angle
4. Camera movement
5. Captions

Let’s zoom in on these elements…

This should be fairly obvious. The subject is the main focus of the storyboard sequence. It’s the “star” of the shot, whether it be a single character, multiple characters, or even an object of high interest.

Background establishes the setting where the image is taking place. Less often found in thumbnails, backgrounds help provide a true sense to the location of the sequence as well as important context.

The camera angle encompasses everything the viewer (and eventually, audience) can see in the panel. Audiences are affected by what they can (and can’t) see, so camera angles are vital in terms of conveying emotion and narrative.

Typically signified through the use of arrows, camera movement is also an essential component of narrative execution. Designating shots as wide shots, close-ups or dolly helps all departments clearly understand a filmmaker’s intent.

To provide further context, panels are often accompanied by captions, which textually explain what’s happening in the panel. Often, captions are used to provide elements the visuals alone can’t (like dialogue or character gestures).

Before a single line is drawn, there needs to be a clear idea of the story that’s being told. Analyzing the script, and understanding the story, themes, setting, time, characters and their motivations is crucial in depicting key elements of the story visually.

It’s not usually necessary to storyboard every single shot of a movie (although this has been done, see this impressive combination of MAD MAX FURY ROAD’s script/storyboard combination here. What’s more essential is showcasing the big set pieces, heavy plot developments, and key turning points.

Sometimes this comes down to how much time (and money) you have, but the more detailed a storyboard is, the more time and energy it can save you when it comes to actual production. If your allotted budget and money only allow for thumbnails, make the most out of what you can. A rough storyboard is better than none at all.

This is different from the caption, which serves to enhance the finished sketch. The description we’re referring to here is for you (or whoever is actually drawing the storyboards) to provide a clear understanding of each panel’s intent. Make sure to include everything you want your viewer to see when they’re looking at the panel in these descriptions.

Some of the most renown sequences in film have used storyboarding to great effect. Click this link to see a list of familiar favorites. And if you want to watch an expertly crafted storyboard-to-film comparison, check out this iconic sequence from JURASSIC PARK. Note the confluence of emotion and narrative build within the sequence. It doesn’t get better than this.

Ideally you want your storyboards to be emblematic of the finished product. So to that point, you want your panels to be as cinematic as possible. Study great art for inspiration. For some astounding film references, take a look at these.

Always ensure there’s a flow and rhythm to the panels. That’s not just between the panels themselves, but also between the sequences and scenes you’re depicting. Everything should feel as though it fits together and belongs to a singular, larger piece.

We’ll start by saying that sometimes these actually do work well, but when they don’t (which unfortunately tends to be more often than not), they can stop a film (or storyboard sequence) dead in its tracks and jar a viewer right out of your narrative. There’s a difference between being cinematic and being overly stylish, so be mindful of anything that may stand out a bit more than it should.