Editing Advanced Storyboarding For TV (section)

== Acting ==

=== Body language ===

[[File:Sample-storyboard-rough-figure.png|thumb|Sample rough figure drawing. No clothing. Only the structure of the pose and positions of features on the face.]]
* Hierarchy in terms of information conveyed: '''Face''' > '''Posture''' > '''Hands'''
* It doesn't matter what anyone is wearing. The important thing is gesture (AKA posture, silhouette, poses).
* Parts of the body lead emotion.
* '''Body language.'''
** Study body language in films for its acting (as opposed to studying composition, which is usually the first consideration when breaking down a scene in a film.)

=== Leading the audience's attention ===

* Eye shifts will lead cuts. Eyes will shift toward the action after the upcoming cut.

=== Perspective and proper footing ===

* Make sure the body is posed so it's balanced over its center of gravity.
* Apply all concepts in the [[#Proportions|Proportions]] section to rough drawings (thumbnails).
* You will always make bad drawings. 

=== Working through mistakes ===

** Instead of despairing of the quality of a drawing, stop and identify what isn't working. 
** Adjust what isn't working.
** Part of being a professional is being able to identify what works and what doesn't work.
** Faced with an unsatisfying pose, stop and consciously think about what is your intention with the pose. Then think what to add or change to reach that intention.

=== Expression in rough drawings ===

[[File:Sample-rough-storyboard-head.png|thumb|Sample rough drawing of a head showing basic expression without any excess detail.]]
* Do thumbnails/roughs as quickly as possible.
** Make them ROUGH ROUGH ROUGH.
** Remove any unnecessary detail. Extra detail is BAD. 
* Cleaned up rough drawings get in the way of conveying acting. Remove all details that can be removed.
* He uses the selection tool to adjust copies of artwork in subsequent panels which retains proportions easily and quickly.
* He hardly uses onion skin at all when adjusting the new poses.

=== Feel ===

* Relies on composition.
* Combining figure an form into the feel of the scene.
* How does the character interact with its environment?
* What does the composition tell us and the framing convey?

==== Framing ====

* How does the composition partner with the gesture and actions the character takes? E.g. how would a character who is uncomfortable interact with the scene as opposed to a character who is confident.
* Shot language and its impact, e.g. close vs. medium vs. wide shots.
* Foreground elements (i.e. between the character and the camera) can trap the audience' eye and force the viewers to look at specific points in the frame.
* Contrasting light and dark areas also directs the audience's attention.
** [https://www.amazon.com/Framed-Ink-Drawing-Composition-Storytellers/dp/1933492953 ''Framed Ink''] Recommended book about light and dark in composition.

[[File:Composition-light-and-dark.png|420px]] [[File:Composition-light-and-dark-scheme.png|420px]]

* Think about overlapping BG element with characters. Avoid clashing information in these overlaps.

===== Rule of thirds =====

[[File:Rule-of-thirds.png|thumb|"Rule of thirds" 3x3 grid.]]
* Helps define shot flow
* The four intersections within the 3x3 grid are the most important real estate within the frame. Attention naturally goes to these areas first.
* Place characters and the subjects of their attention (i.e. anything they are looking at) on these four points.

==== Character interaction with the composition ====

* Are they relaxed? Tense? Etc.
* Are they expecting something. 
* If a character wants something in the environment, a subliminal way to convey this is to have the character's hands stretch out in the direction of that thing even before the audience is allowed to see it.