Before you begin with this reading, I have to make something very clear: This section on storyboarding is intended for 'directors' or people who would like to "visualise" their own projects. Directors should never allow the 'storyboard artist' to direct their films; the film should be the director's vision. Having said thus, storyboard artists will find my observations and experiences useful in their own work and in their interaction with directors.

"Bad Blood's Storyboards"

           I wrote Bad Blood with the intention of directing the film. But as soon as the screenplay was completed and budget projections were made it became obvious to me that, in order to make the film I'd envisioned for a minimal budget, I would have to do some "creative manouvering" to make this film happen (see From Errol Flynn to DreamsVcom in the ‘Writings’ section of this website for the complete story). To show more on screen for less money meant preparing well in advance to successfully overcome the enormous challenges of filmmaking.

           Hiring an established production studio to shoot the film was out of the question; this simply not in our financial landscape. So instead, we used what we had within reach and planned ways to get what we lacked. Consequently, DreamsVcom, our newly created digital productions studio, would contract a number of critical talent and personnel, but for the most part, we had to depend on own skills and local resources.

           The studio’s organizational chart was kept simple. Nancy Lewis and Peggy Krysinski, two of Bad Blood’s four co-producers, would be handling the day-to-day studio operations; John Ban, our third co-producer would be running the crew and dealing with technical challenges, and I would handle the creative aspect of the project. Taking the responsibility of all creative decisions encompassed being the film’s director, production designer, and director of photography. It was up to me to decide the look, the mood, the style, the pace and the feel of the entire movie. Since I was also the film’s editor and the screenwriter, I had complete creative control in the fullest sense of the word.

           From my experiences in the theatre and the visual arts, I knew well that the success or failure of any collaborative undertaking depends greatly on good communication. Bad Blood’s production team and many of the department heads (many of whom I had not even invited yet to join the project), with few notable exceptions, had never worked on feature films before. So it became imperative that everyone involved had a clear picture of what was being done and why things were being done so that confusion, the misused of time and resources, and dejection on the set could be eliminate to the greatest extent.

           In filmmaking, the process of communicating in pictures is called storyboarding. A director with good verbal communication skills is a plus on the set but I had long known that a picture is worth a thousand words. In this situation a thousand pictures were even better. From my point of view, storyboards are the bible of a film’s production. They are the renderings of a director's mind and the most powerful tool of visual communication between the talent, the production team, and perhaps more importantly, with potential investors. When confronted with a difficult problem more often than not a simple drawing is all that's needed to heard the magic words -"I totally get it, dude!"

           Thirty years of painting and designing placed me at an ideal spot to render a ‘picture’ version of the screenplay. Three movie directors that I greatly admire used their arts background to great effect in storyboarding their entire films. They are Alfred Hitchcock, Akira Kurosawa, and Ridley Scott. If you don't know who these gentlemen are, then you do not know about films.

Alfred Hitchcock

Akira Kurosawa

Ridley Scott

           To be sure, there are many other prominent directors, such as Steven Spielberg and George Lucas, who have used storyboards extensively. But what set Hitchcock, Kurosawa, and Scott from the rest is that they drew their own boards -though they had storyboard artists at hand to elaborate, render changes and further polish their visuals. It goes without saying that, in preparation to make my own boards, I studied theirs.

Hitchcock's sketch for 'Lifeboat'.

Kurosawa's colour sketch for 'Ran'

Scott's sketch for 'Kingdom of Heaven'

           I began creating Bad Blood’s storyboards in the fall of 2003 and completed them in April of 2005. In between work commissions to pay the rent, I used some of my spare time making drawings. Every week I tried to do a set amount of drawings. In the end, I storyboarded the entire film in 133 boards containing about 2500 drawings. What I discovered from doing my own boards is that everything that was foggy by the time I started was completely clear by the time I finished. Storyboarding allows time for the brain to think, to study problems and work out ideas, and also provides a way to try new approaches.


Keeping it Simple

           What follows is a description of my storyboarding method and routine. Please keep in mind that there is no ‘standard’ way of preparing storyboards. Certain things remain constant but each production will determine its own storyboarding needs. My working style and procedure 'works for me'. For your own production you must do what works for you. For a more traditional approach to storyboarding I encourage you to seek out other sources. There are several good books on the market or in your local library that cover storyboard art in detail.

Three titles from my personal library with useful information about drawing and creating storyboards.

           Before I begin introducing Bad Blood's storyboards, I want to tell you right from the start: -"You do not need to be a Michelangelo to draw your own boards!" Let me prove it to you. Below is a picture of the boards I used when filming a few scenes from Death of a Mercenary. They were created for a finals project being done by communications students at Cleveland State University. Five scenes were filmed with a total of one hundred and ninety camera shot/edits during a three-day period. It was filmed in the department’s small TV production studio so we had to prepare well to complete all the shots in time.



           My good friend Theron Evans, the ex-Marine web designer who put together the Muralmaster site, was then a student in charge of the editing. The class professor and project supervisor was none other than the peerless John Ban. Indie films veterans Andrew Scofield and Frank Mixson were part of the cast, which also included Cleveland arts icon James Levin and acclaimed choreographer Gustavo Urdanetta. Actor Marty O'sullivan stole the show. I was so impressed by these gentlemen that I made a mental note to work with them again if I ever had the chance. Now they are all now involved in the production of Bad Blood -Karma.

           Storyboarding comes effortless to me. Even as a teen working in my own theatrical productions I sketched everything to help explain my ideas to others. But now was the first time I had to do boards to be followed by a production crew that spoke in filmmaking language. So the first thing I did was learn the vocabulary of the trade (kinds of shots, camera movements and so forth) and then find an effective way to say it all in visual sound-bites. Notice how plain and simple they are (eventhough I can paint you a copy of the Mona Lisa). On black construction paper (8-1/2 x 11 inches) I made a series of 1-1/4 x 1-1/4 inch panels in comic book style using white ink and a paintbrush. At the bottom of each panel I wrote a description of the action or a piece of script.

           These finished boards were then photocopied on legal paper (8-1/2 x 14 inches), put in binders and passed along to the crew. On the right hand side of each sheet the shot-numbers were listed and then cross with a red marker as each shot was filmed. Since each panel was basically a thumbnail the boards were relatively fast to create. Also, I was in intimate terms with the material because I was the author of the play being filmed. The drawings were minimal, sometimes stick figures, but they were effective and everyone understood clearly what they were supposed to do. Camera setups were fast and efficient and the actors commenced the blocking of scenes by just glancing at the pictures.

           There is an important lessons to be learnt from this (let me repeat): -"you do not have to be a Michelangelo to draw your own boards!" Just keep things simple; say what you want to say with an economy of line. The key is to ‘communicate’ your ideas visually and not to show off your drawing prowess. Take your time to consider what you want to say. As you move along it gets easier.

You can learn a lot from this guy. Get DVD copies of his films 'Citizen Kane' and 'Othello' and study every single frame. Practice by creating storyboards of the opening scenes.

Storyboard of the 'El Rancho' cabaret crane shot, including the roof sign, from Citizen Kane. Many movies on DVD, such as the two disc edition of Citizen Kane, contain a comparison of film stills with the storyboards. This is a great way to learn visually about how it's done.

Needs Assessment

           When I started visualising Bad Blood I began with an assessment of what needed to be determined with the help of storyboards. This was my final appraisal:

1. The director wanted to visualise his interpretation and feel of the script.

2. The director of photography was concerned with the mood of the film, as expressed by camera placements, camera movements, and the lighting of each scene.

3. The production designer was concerned with sets, colours, props, and the costumes –in general- the entire look of the film.

4. The postproduction crew needed to visualise the special effects shots, the titles and closing sequence.

5. The assistant director would like to see how the crowd scenes would play out.

6. The stunt coordinator needed to learn how the each shot had to be choreographed.

7. The talent needed help visualizing the blocking of a scene or how to play out effects shot on blue screen.

8. The location scout needed to know what look for.

9. The producer needed to see –and justified, that the budget was visible on screen.

10. The investors needed to see and understand what the producer and director were going to do with their money. And so on.

           Bad Blood’s storyboards had to provide a lot of information particularly since we would be working with an inexperienced crew. So I proceeded to compile all the visual research I had done while I writing the screenplay and added a few more visual references of the sites I wanted to use for the film’s locations. Early on I had met with most of the talent that I wanted cast for the film and had made a picture portfolio (see Bad Blood in the ‘Writings’ section of this website to see the portfolio). I was not sure that I would need all the things I was gathering, but I didn’t want to stop the drawing process once I sat down to do it.


Personal Confession

           I have to make a confession: -“I can’t draw…with a pencil, or pen.” I became an artist late in life, too late to develop the skill and hand dexterity one needs for drawing. But I can paint with a brush. So, same as with my early thumbnail drawings I did for the Cleveland State student project, I was going to do Bad Blood’s panels in brush and ink. Sometimes I use a pencil to sketch, but it is usually a sketch of a stick figure, which I will flesh out with the brush at a later stage. The most difficult thing for me was to stop detrimental tendencies to embelish the renderings. With so many hundreds of drawings to do I had no time to 'decorate.'

Pencil thumbnail sketches and notes by Ridley Scott on the screenplay for 'Kingdom of Heaven'.

           Here's a note of interest: Alfred Hitchcock used a regular lead pencil to do his storyboards; Akira Kurosawa created his boards with a paintbrush and did them in colour; Ridley Scott uses three gray felt-tip markers, with tip widths from fine to broad. With these he could quickly create a variety of tones and washes that gave the storyboard much more atmosphere and depth. In same manner, I combine black and white ink to paint tones and washes into my panels. Try it. It's quick and easy. Just keep it simple.

Example of an efective storyboard using 'stick figures. Storyboards are intended to convey information visually, not to end up as "art".

Storyboards from Hitchcock's famous "shower scene" in 'Phyco'. The master used several storyboard artist to flesh out his sketches.

Equipment and References

           After gathering visual references, I went back to the script. When writing a screenplay I only identify the scenes, never the individual shots. At this stage I like to pass it along to test readers for criticism. Not marking the shots or camera movements makes the reading experience more enjoyable and less distracting, as if reading a novel. Later I reformat the screenplay, colour-coding the manuscript in preparation for the script breakdown (used for budgeting and scheduling). During the storyboarding process I broke down the screenplay into individual shots .

           Next I considered the aspect ratio of the finished film so that I can make the panels match the proportions. For example, the Cleveland State student project was going to be seen on television, which uses an aspect ration of 4:3, an image four units wide and three units tall (my thumbnails were only square, but close enough). Bad Blood will have a 16 x 9 aspect ration. The panels will be drawn to proportionally match this format.

           Finally, I had to decide the size of my storyboards. Many artists do them the size of typewriter paper, that’s 8-1/2 x 11 inches. They make a few panels in each sheet of paper that can later be placed in some kind of binder. This method makes handling convenient because copies can be easily reproduced and passed around. But I do not like to do it this way; I much prefer a larger format -something with weight on my hands. What I did was to draw the panels on separate sheets of colour paper, and then cut and paste them onto a larger board, as you will see later on. Once completed, the storyboards would be photographed and recorded on CD.


These are my drawing supplies and equipment:

1. Two bottles of artist’s acrylic inks (or opaque water-based airbrush colours), one black and one white .

2. Construction paper in assorted colours (also called craft paper).

3. A fine point black marker and two drawing pencils, one red and one white.

4. A soft eraser (a kneaded eraser works best).

5. A number 6 artist sable brush (or a number 6 artist nylon brush).

6. A straight edge (I use a triangle).

7. A cutting blade (also for sharpening pencils).

8. A small cutting mat (cardboard or rubber).

9. A water dish (to rinse the brush).

10. A blotting cloth or napkin.

11. A bottle of white glue (Elmer’s, etc.).

12. An ink reservoir and mixing dish (I use a styrene egg tray).

13. Panel identification labels and camera setup labels (I printed my own).

14. A flat working surface (I use a small drawing board).

15. Black poster board (I use 4-ply poster board, 22 x 28 inches, which I will cut in half to the size of 22 x 14 inches, the measurements of each storyboard. However, the poster board can be cut to any size; it’s a matter of individual preference.

16. Models –figurines, action figures, toy cars, and so on (or a live model).




17. A digital camera. This is a most important piece of equipment. Use it to photograph models from different angles to serve as reference for your panels. A digital camera with an LCD display is ideal. You can shoot tons of reference shots without spending money on film developing. Or you can print a reference thumbnail sheet after downloading the pictures to the computer. People with good drawing abilities might prefer drawing while viewing the models, thus eliminating the need for photographic reference. But viewing models through a camera lens feels more like viewing the actors through a film camera on the set.

18. A cardboard template with an opening matching the aspect ratio. (The opening in my cardboard template is 4 inches by 2-1/4 inches, which is proportionate to a 16 x 9 aspect ratio).

           Keep in mind that maybe all you need is pencil, a sheet of white paper, and a small ruler to make your panels. These are the only items used by many professional storyboard artist. Use what works for you.


Creating the Boards

What follows are some of Bad Blood’s storyboards.

           I begin by gluing a label on the upper left-side corner and marking the scene number and shot number. I also mark the type of scene (interior or exterior) and the time setting (day or night). If the shot requires effects or camera movements, then I add a camera set-up label underneath the ID label. On these I write the necessary notes. Next, I glue a panel (the finished drawings of individual shots cut to ratio) by applying a dot of glue at each corner. Underneath I add the dialogue and/or a description of the action in the shot (sometimes cut directly from a script page, often writen by hand).

           I continue the process down -Chinese style, not sideways (works for me) and usually fit three columns on each board. I make a panel for each shot. If a similar shot is repeated, I label the shot and add a panel without a drawing (later on I fill them in with a xerox copy of the panel). I do not add arrows to indicate camera movements. I like to write down the information and paste it to the boards. I create the panels on different colour papers to represent day, night, interior, exterior and so on. Finally, I number each board at the left top corner.




Action Sequences

           These boards illustrate how some of the action-crowd sequences will play out (read this section of the screenplay by clicking Bad Blood in the "Writings" section of this website). We have at least four big action sequences in Bad Blood. These sequences combine great numbers of extras, in camera effects, stunt work, mechanical effects, CGI work, and extensive choreography to achieve the desire illusion. Just about every department head will be involved in their planning. I would be almost impossible to accomplish this task without the use and aid of storyboards. The safety of cast and crew is a major concern when designing these elaborate "million dollar shot" sequences.

           In my early days in Puerto Rico I used to do big productions from the Spanish Golden Age of Theatre -the equivalent of Shakespeare. In some scenes we had over thirty actors involved in sword-fighting scenes. That's over thirty 'Puerto Ricans' with 'sharp weapons.' Every move was choreographed on storyboards. We never lost a soul.




Camera Set-ups

           The next example shows a panel illustrating a long shot of the ‘biker bar’ at the beginning of the film and a diagram detailing the set piece to be used on the shot and through out the scene. In also includes the camera setup.

           This simple panel and diagram shows the construction supervisor, the lighting manager and the art director (or set dresser -if you can afford it) what they need to prepare and dress the set, and the matte painter the required information to complete the shot in post.




           Below left is a diagram for camera placement and movement. Additional information for the camera crew is added on the labels. Bad Blood was going to be filmed (old fashion) Hollywood style, using one camera and careful lighting of each shot. The film would be edited ‘on camera.’ Only what is required would be on the shot.

           Every shot is planed in advance and the photography follows the storyboard precisely. Since I wore all the creative hats, I could have a conference in my head and there would be very little second-guessing. Unless there is a good (creative or logistical) reason for changing the shot, or to add additional shots, the production would continue on a well thought-out schedule.




           Above right are the panels for the same sequence played as detailed in the previous diagram. I pasted the panels side to side in this instance for space considerations. These small ink drawings were done very fast. Using the white drawing pencil I make a few guideline and stick figures and then finish of the panel with brush and ink. I use a white pencil because it shows on dark colour paper (I use blue for night-exterior). On light colour backgrounds I draw my sticks with a red pencil. Again, colour here is a matter of personal preference. Note: I do not use regular lead pencils because graphite smears easily and dirties the work.

Eisenstein's sketch for 'Ivan the Terrible'. This Russian master and cinema pioneer also put his artistic background to good use for the production of his monumental epics.

           With a fine point marker I write descriptions on separate pieces of paper, which will end up glued to the board.Notice that I am very specific about where the main source of light is placed and how the shot is choreographed. All this was marked on the previous diagram.

Sergei Mikhailovich Eisenstein (1889-1948) Creator of classics such as Ivan the Terrible, Alexander Nevsky, and The Battleship Potemkin.

Movie still from Eisenstein's Ivan the Terrible.

           Alfred Hitchcock considered the shooting of a scene the most boring aspect of production because he had already done all the guess work and creative planning on his boards -he rarely made a change and his production team worked like clockwork (he also required everyone to wear a tie). This shoots to flames the argument that a director needs to make spontaneous decisions on the set to capture "the magic" of the scene. Granted, Hitchcock was Hitchcock and we are not. But I have been in sets where the crew and cast languished for hours while the director tried to find magic with his or hers "spontaneous" decisions. So do your planning ahead and come prepared to the set; if an epiphany hits you, then by all means be spontaneous. In the meantime, time is money; don't waste it.


Visualising Shots

           A digital camera is an invaluable tool for helping you visualize a shot. Compare the reference photos below with the boards on the left.






           For the most part, my models were inexpensive wooden figurines about six inches tall. On rare occasions I was fortunate to have one of my friends to model for a pose. Unless you need facial expressions, I suggest you stick with the wooden dummies –they are less distracting.






           Figurines are great aides in planning multiple character shots, camera angles and movements. This is the same technique I use to plan movements on the theatre stage (called ‘blocking the scene’) or when planning a complex painting involving people. For some scenes I use cardboard boxes and other at-reach objects to simulate furnishings. Even paper cut-outs can help complete an illusion and even GI Joe can do double duty.




           I pay less than $10 for a car replica at a toy store. The wheels turn, its doors and hood open so when you get tired of drawing you can play with it! For scenes involving more than one vehicle a couple of matchbox cars will do the trick. It helps if your camera has a zoom lens.




           Sometimes I draw a larger panel (still maintaining a proportional aspect ratio) when a complex shot sequence needs to be explored in detail, as in this example. Well lighted and composed and shots are not only attractive to look at but can also save a lot of time and money when used to convey stylised scenes of violence and action.

           I studied the films of Akira Kurosawa and Alfred Hitchcock, Orson Welles’ Othello and Citizen Kane, and David Lean’s Lawrence of Arabia in preparation for Bad Blood. Being the writer, director and editor of a film is enlightening experience for many reasons, but in particular for discovering how one can tell a story through a screenplay one way through the use of words, or by giving the story a completely new spin by the way the camera focuses attention, or by accelerating or slowing down its heartbeat in editing.


Location shots

           Finding the right location to fit your vision is not always easy, especially if it costs money to secure. For Bad Blood we intend to combine set pieces into the illusion of a huge space and to later add computer generated details (set extensions, etc.) in post-production.




           Studying a location in advance (whenever possible) is an excellent way to plan complex shots before the rush of production. This shot sequence is designed to take place at an existing location dressed up to look like a more impressive (and expensive) set than what it really is.

           Sometimes there is only one place to place the camera to get that million dollar shot. Working the logistics of the shot on your storyboard means that once you are filming on location you will get that shot. I have been on sets were the director has spent hours hunting for the shot, shooting at everything but never getting it.


Designing Panels

           A great benefit about doing your own storyboards is that you are forced to think in advance. Here’s another example showing a shot sequence diagram.




           One of the advantages of working with black and white ink is the ability you have to visualise 3-D form instead of just 2-dimensional shapes (as in a line drawing) by adding light and shadows. Inks are very fluid and easy to work with. I use the same brush throughout the whole panel. I simply rinse and blot the excess water before switching colours. I like to use construction paper because it absorbs ink well and because the paper's colour immediately adds substance to the scene. As I paint I am not very concern with the colour scheme on the actual set but with tone, with lights and darks.

           One of the few drawbacks of digital filmmaking is the loss of the rich colour captured by film. So instead thinking about colour, I concentrate on value and compose my scenes in an artistic way that takes advantage of the contrasts between lights and shadows. One advantage of doing your drawing on a separate piece of paper is that you can run the template over the image until you reach the best composition for that shot. Then you mark the frame and cut away the panel when you are ready to paste it on the board. Framing with the template is comparable to looking through the camera’s viewfinder when you are shooting on location.

           Some panels in the storyboards look more elaborate than others but in reality there is not much difference. I follow the script in chronological order and this helps maintain a sense of visual continuity. On average it takes between 10 to 20 minutes to produce each panel after I have studied the particular section of screenplay I’m about to work on. Some paintings need to be more detailed and can take as long as one hour, but many take about a minute. At times I simply photocopy a panel and paste the copy where the same shot is repeated. One page of the screenplay is roughly about one full storyboard (about 12 panels).

           Storyboarding an entire screenplay is a lot of work, but keep in mind that I am not just doing a visualisation of the movie. At the same time I am also designing my lighting, placing and moving the camera; I am deciding what kind of lens to use on a particular shot, what sequence of shots to make the scene more effective; I’m finding ways to maintain quality while keeping costs down, or better yet, lowering cost. I am creating sets, wardrobe, adding music, thinking of sound effects, visualising the individual performances and finding ways to make stunts safe.

           Doing storyboards in this fashion is labour intensive. It is a test of both your knowledge and your artistic skill. But I enjoy it. Everything I have learned or experienced comes into play. Nothing is wasted. It is also a great way to keep your mind occupied while waiting for funding to fall into place. At length, I am keeping track of the overall quality and consistency of the film. This attention to detail will greatly benefit the whole project, the talent, the production crew, the management, the producers and ultimately, the investors. And as an extra bonus, if you have done your work well, the audience will take notice.


Composite Shots

           There is an area of filmmaking where low budget movies have not ventured much. Take a look at this shot. In Bad Blood one of the locations is the hottest nightclub in town: the Lollypop. People line the limousine parked streets waiting for hours to be admitted. Since there is not money in the budget to secure this shot, rent the limos and so on, it would make sense to drop it and somehow find a way to tell the story in some other way.




           However, using one of the oldest techniques in moviemaking, the matte shot, it is possible to this shot by simply building a wall and a staircase, and placing your extras on that waiting line. Oh yes, you will need a few vehicles, but no limos. The way this shot will be made is by incorporating the live action into a matte painting, thus creating a matte shot. By the way, the limos are also painted in.

           All that is needed is a little know-how and ingenuity to give a cash poor production a million dollar shot. And of course, you need a painter who can do the matte. The computer will do the rest. These are the types of shots that need to be designed and arranged in advance. In Bad Blood, several shots like this one have been design.


Putting it all Together

           The last thing you do with your completed panels is perhaps the most important task: preserving them. I accomplish this in two ways: making a photo-record of each board and burning the data into a disc, and, keeping the original boards in a sealed box.

           To do the first set up an easel or support for your boards against a wall and then set a fixed camera in front of it. Shoot in daylight or light well. Then photograph each panel in high resolution. Then transfer the data into your computer, save into a file (which will be huge so make sure you have enough space in your hard-drive), and burn the data into disc. Make several copies and keep one as your “master”. Test the copies to make sure everything works correctly and then, and only then, erase your computer file.

           To preserve my original boards I made a wooden box with a hinged top to keep them safe and secure. The most important thing is store the box in a dry place and not to keep your boards exposed to sunlight or they will bleach and fade away in time. Keep in mind that the more boards you have the heavier the box will be. So make your container sturdy enough to carry around.

           I leave you with a storyboard sequence from Bad Blood. The script for this scene is included in Bad Blood in the ‘Writings’ section of this website. Read it to compare how the writing is visualised in the storyboard. Then go and do your own.