I’m always struck by super detailed, as well as animated, storyboards. When working with a large team where there are many variables, I'm sure detail can reduce uncertainties in production.
I work on much shorter pieces, doing both storyboard and animation solo, so in that respect there are fewer reasons to add detail early. Another reason for me though is that I simply may not have that detail yet! I often don't know exactly how a scene will resolve until I get there (again, for 1, 2 min films potential issues that could arise from this kind of ambiguity and consequent shift down the line don't have time to compound much).
Anyway lack of foreknowledge wrt details hasn't yet been an issue for me; in fact the flexibility afforded me + allowing me to get started without knowing everything ahead of time, has been a boon.
It's fascinating to see how differently artists and teams work, and the solutions that fit different needs. Reminds me once again the vastness of gamut in animation. Thanks for a super fun read 🙏
Great comment -- there are a ton of storyboarding differences between smaller and bigger projects, shorter and longer ones, etc. Some solo animators, especially when they're working very short-form, don't storyboard at all! And there can be a lot of value in allowing the animation process to dictate itself, without the storyboard pinning down every little thing.
Gosh. I have so much to say about storyboarding. Lol, but I'll make it quick because I respect the fans of this magazine and wouldn't want to bore them. In short, I experience storyboards as a testament to how specific a artists vision is, and in America, respect for a directors vision has taken a backseat to meta data analysis and bottom lines. Hence rushed and often times corner cutting lazy storyboards. Corporate studios love to make creative decisions by committee. I mean absolutely love checking boxes. Art doesn't work that way. It won't appear on a quarterly basis - and be unique: if viewers want it to be truthful work. Economic pressures aside, I've always appreciated artists who leave room for collaboration by finding a vision with the help of others. There doesn't appear to be a right or wrong way to do storyboards at all! I just wonder about the integrity of decisions made on storyboards by major studios when the choices come from fear of failure, or fear of financial losses. Instead of curiosity and exploration. Eeesh, hope that didn't get me kicked off the forum lol. Apologies other readers. - Dar
Haha, thanks for sharing your thoughts! It's interesting to hear different views on the subject. There's definitely room for a discussion about whether directors and artists have the time and trust from management necessary to do their work.
As we've seen recently with Netflix Animation, the lack of creative and financial respect for artists is a big problem. With industry storyboarders in particular, one of the major concerns today is that they're expected to do way, way too much -- for too little pay. Between the short deadlines, the pressure to animate storyboards and the heavy overtime, story artists are being run ragged. For many animated projects right now, especially in the streaming space, it's almost a miracle that they're able to ship at all.
Things haven't quite reached the point of crisis you see in Japan, where the industry is actively crumbling because the awful conditions have driven artists away in large numbers, but they aren't good. In America, many young artists enter animation with hopes of making the next Foster's Home for Imaginary Friends, only to get burned out and disillusioned before they have a chance to show the world what they can really do.
There's still good work being done, but it's a battle -- and it's often down to luck. Some of the best shows made in the last few years were canceled before they ever reached the public. Which only increases the disillusionment among artists, who've put so much heart and so many great ideas into things that, more or less, companies put down the garbage disposal. It's a really complex and unfortunate situation.
I’m always struck by super detailed, as well as animated, storyboards. When working with a large team where there are many variables, I'm sure detail can reduce uncertainties in production.
I work on much shorter pieces, doing both storyboard and animation solo, so in that respect there are fewer reasons to add detail early. Another reason for me though is that I simply may not have that detail yet! I often don't know exactly how a scene will resolve until I get there (again, for 1, 2 min films potential issues that could arise from this kind of ambiguity and consequent shift down the line don't have time to compound much).
Anyway lack of foreknowledge wrt details hasn't yet been an issue for me; in fact the flexibility afforded me + allowing me to get started without knowing everything ahead of time, has been a boon.
It's fascinating to see how differently artists and teams work, and the solutions that fit different needs. Reminds me once again the vastness of gamut in animation. Thanks for a super fun read 🙏
Great comment -- there are a ton of storyboarding differences between smaller and bigger projects, shorter and longer ones, etc. Some solo animators, especially when they're working very short-form, don't storyboard at all! And there can be a lot of value in allowing the animation process to dictate itself, without the storyboard pinning down every little thing.
On the other hand, if you're Jonni Phillips, your storyboards might basically be a rough animation pass drawn freeform with no preparation: https://twitter.com/jonniphillips/status/1514305314232803330
All that said, really glad you liked the piece!
Gosh. I have so much to say about storyboarding. Lol, but I'll make it quick because I respect the fans of this magazine and wouldn't want to bore them. In short, I experience storyboards as a testament to how specific a artists vision is, and in America, respect for a directors vision has taken a backseat to meta data analysis and bottom lines. Hence rushed and often times corner cutting lazy storyboards. Corporate studios love to make creative decisions by committee. I mean absolutely love checking boxes. Art doesn't work that way. It won't appear on a quarterly basis - and be unique: if viewers want it to be truthful work. Economic pressures aside, I've always appreciated artists who leave room for collaboration by finding a vision with the help of others. There doesn't appear to be a right or wrong way to do storyboards at all! I just wonder about the integrity of decisions made on storyboards by major studios when the choices come from fear of failure, or fear of financial losses. Instead of curiosity and exploration. Eeesh, hope that didn't get me kicked off the forum lol. Apologies other readers. - Dar
Haha, thanks for sharing your thoughts! It's interesting to hear different views on the subject. There's definitely room for a discussion about whether directors and artists have the time and trust from management necessary to do their work.
As we've seen recently with Netflix Animation, the lack of creative and financial respect for artists is a big problem. With industry storyboarders in particular, one of the major concerns today is that they're expected to do way, way too much -- for too little pay. Between the short deadlines, the pressure to animate storyboards and the heavy overtime, story artists are being run ragged. For many animated projects right now, especially in the streaming space, it's almost a miracle that they're able to ship at all.
Things haven't quite reached the point of crisis you see in Japan, where the industry is actively crumbling because the awful conditions have driven artists away in large numbers, but they aren't good. In America, many young artists enter animation with hopes of making the next Foster's Home for Imaginary Friends, only to get burned out and disillusioned before they have a chance to show the world what they can really do.
There's still good work being done, but it's a battle -- and it's often down to luck. Some of the best shows made in the last few years were canceled before they ever reached the public. Which only increases the disillusionment among artists, who've put so much heart and so many great ideas into things that, more or less, companies put down the garbage disposal. It's a really complex and unfortunate situation.