2008Off Topic forum
Use of storyboards and previz in narrative film, episodic television, and commercial production workflows
18 years old. Gear and prices may have changed since.
What the thread found
- Storyboards work best as communication tools for complex sequences like action or effects rather than for every scene in a production.
- Commercial work relies heavily on storyboards because of strict time constraints, typically 22 seconds with 8 seconds dedicated to product placement.
- Shot lists prove more practical than storyboards for most feature and episodic work, especially when time is limited or production is scattered across multiple locations.
- Experienced directors often treat storyboards as guides rather than rigid blueprints, remaining flexible to discover better solutions on set.
- Cinematographers typically participate in shot list creation with directors and assistant directors but may discard pre-drawn storyboards if they conflict with practical shooting realities.
- Novice directors benefit from visualizing shots through storyboards, but this becomes less necessary as experience grows.
- The cinematographer's involvement in previz and storyboarding varies by project and director preference.
Depends on
- Discussion focuses mainly on feature films and episodic television, with limited detail on other production types.
- No specific timeframe given for when the cinematographer should be involved in the storyboarding process.
- The balance between following storyboards and improvising on set depends heavily on individual director style and project circumstances.