Storyboard

A storyboard is a graphic organizer that consists of simple illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence. The storyboarding process, in the form it is known today, was developed at Walt Disney Productions during the early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios.

Many large budget silent films were storyboarded, but most of this material has been lost during the reduction of the studio archives during the 1970s and 1980s.^{[citation needed]} Special effects pioneer Georges Méliès is known to have been among the first filmmakers to use storyboards and pre-production art to visualize planned effects. However, storyboarding in the form widely known today was developed at the Walt Disney studio during the early 1930s. In the biography of her father, The Story of Walt Disney (Henry Holt, 1956), Diane Disney Miller explains that the first complete storyboards were created for the 1933 Disney short Three Little Pigs. According to John Canemaker, in Paper Dreams: The Art and Artists of Disney Storyboards (1999, Hyperion Press), the first storyboards at Disney evolved from comic book-like "story sketches" created in the 1920s to illustrate concepts for animated cartoon short subjects such as Plane Crazy and Steamboat Willie, and within a few years the idea spread to other studios.

According to Christopher Finch in The Art of Walt Disney (1995), Disney credited animator Webb Smith with creating the idea of drawing scenes on separate sheets of paper and pinning them up on a bulletin board to tell a story in sequence, thus creating the first storyboard. According to Pete Docter and Don Peri in Directing at Disney (2024), Dick Huemer credited Ted Sears with first inventing the storyboard while he was working at Fleischer Studios, but that studio was uninterested. Sears then switched to working for Walt Disney Productions and introduced the storyboard to Walt Disney, who promptly understood its importance.

Either way, it was Walt Disney who first recognized the necessity for studios to maintain a separate "story department" with specialized storyboard artists (that is, a new occupation distinct from animators), as he had realized that audiences would not watch a film unless its story gave them a reason to care about the characters. The second studio to switch from "story sketches" to storyboards was Walter Lantz Productions in early 1935; by 1936 Harman-Ising and Leon Schlesinger Productions also followed suit. By 1937 or 1938, all American animation studios were using storyboards.

Gone with the Wind (1939) was one of the first live-action films to be completely storyboarded. William Cameron Menzies, the film's production designer, was hired by producer David O. Selznick to design every shot of the film.

Storyboarding became popular in live-action film production during the early 1940s and grew into a standard medium for the previsualization of films. Pace Gallery curator Annette Micheloson, writing of the exhibition Drawing into Film: Director's Drawings, considered the 1940s to 1990s to be the period in which "production design was largely characterized by the adoption of the storyboard". Storyboards are now an essential part of the creative process.

A film storyboard (sometimes referred to as a shooting board), is essentially a series of frames, with drawings of the sequence of events in a film, similar to a comic book of the film or some section of the film produced beforehand. It helps film directors, cinematographers and television commercial advertising clients visualize the scenes and find potential problems before they occur. Besides this, storyboards also help estimate the cost of the overall production and save time. A storyboard can also be helpful with the first stage of the film editing process, when the film editor is trying to assemble a rough cut to show to the director. Often storyboards include arrows or instructions that indicate movement. For fast-paced action scenes, monochrome line art might suffice. For slower-paced dramatic films with an emphasis on lighting, color impressionist style art might be necessary.

In creating a motion picture with any degree of fidelity to a script, a storyboard provides a visual layout of events as they are to be seen through the camera lens. Storyboard frames are traditionally drawn on rectangles with the same aspect ratio as the video format in which the film will be shot. In the case of interactive media, it is the layout and sequence in which the user or viewer sees the content or information. In the storyboarding process, most technical details involved in crafting a film or interactive media project can be efficiently presented either in pictorial form in a storyboard frame, or as notes in the margins of specific frames.