Car accident rough storyboard for Vincent en het einde van de wereld
Vincent and the end of the world (2016)
Directed by Christophe Van Rompaey.
Production: A Private View
The film’s trailer:
Storyboards for Toyota ECB idents.
Film director: Bugsy
Production house: Good Egg
Client: England and Wales Cricket Board
Agency: Saatchi & Saatchi
These boards are 100% digital, drawn on the computer using Wacom. Compare with drawings on paper, the old school way.
The story depicts the events surrounding the 1384 Atoleiros battle during the Portuguese Interregnum. We started with an overview of the scenes roughed in a sketchbook. This step ran in parallel with the writing phase of the adaptation. We tested mood boards in colour, mixing sketches, illuminations and voice-over to get a sense of timing. This part of the story is about the 1383-85 Crisis, and focus on the Marriage of King D. Fernando I the Handsome with Queen D. Leonor the Treacherous. It is a story of betrayal and court secrets, that portraits a kingdom at the verge of civil war.
Editing animated drawings with live footage allowed to spend more of the budget on re-enacting the battle.
Drawings are tell key moments about the political and historical context that led to the battle. The film is part of the permanent exhibition, projected on a drawing board in a reconstructed painter workshop.
The Battle of Atoleiros Interpretation Centre hosts the permanent exhibition in Fronteira, Portugal. In photographs by Fernando Guerra.
If you enjoyed this post and like Portugal’s rich medieval history, check more works:
– More production drawings from this project in the drawers blog
Animatics — illustrations series made for audio guides depicting the 1385 Aljubarrota battle for the Battle of Aljubarrota Interpretation Centre, Portugal.
The sequences take the visitor through different phases of the famous Portuguese defensive battle, one of the first of its kind in Europe, exploring the trenching tactic used, troops movements and other historical aspects while interactive features draw on some of the injuries inflicted on soldiers whose remains were later found on the battlefield, studied by archeologists and visible in the interpretation centre.
If you liked this post, check the Aljubarrota battle storyboards.
If you want to view this storyboard on iPad, here is the link.
Final edit of the film.
The roughs for the two films show my usual storyboarding process – a very simple one: drafting the whole camera angles and compositions in very tiny frames, on the fly, during live discussion with the director or over the phone – these where done over the phone and the help of very precise visual and written notes, so you’ll notice very little difference with the final boards.
In this case a double page holds an overview of each 30 seconds film but there are instances where you would need an entire sketchbook for a single story.
Designed with LUON to present in a light-hearted way the Natuurpunt‘ Sumatran rainforest preservation project, one of eight charitable projects funded by Ello Mobile users. Each project is illustrated by a small animation featuring a family of characters.
The final animation:
Another one from the same series.
Shooting storyboard: car chase and special effects scenes.
The Hot Potato, feature film written, directed and produced by Tim Lewiston, Wardour Pictures and Novak Prod. Shot on location in UK and Belgium.
Synopsis: Based on real events. London’s East End 1969. One evening, a government research establishment explodes; an event that eventually leads the two friends, Kenny (Ray Winstone) and Danny (Jack Huston), being in possession of a large lump of Uranium… They crisscross Europe to find a buyer. Accompanied by Danny’s girl, the lovely Carole. They encounter a diverse cast of bizarre characters, all trying to steal the ‘Hot Potato’, but a deal agreed inside the Vatican has the co-conspirators confounding each other. The story twists and turns to an exciting and unexpected finale.
Only two sequences were storyboarded: the action scene with cars and another scene requiring matte and special effects. Drawn directly with ink on paper, trying to keep the energy of the first draft, the second scene is just sketched roughly – as no more than an outline was necessary. Click on frame center to view sequences in full screen.
Drawing the two scenes was fun.
Looking forward to seeing the movie.
Rough storyboard – Car chase scene
One frame from car chase scene – storyboard cleaned
Rough storyboard The Hot Potato – gun scene
One frame from car chase, firing gun scene – storyboard cleaned
You can download the storyboard in pdf format here.
Since 1999, I draw storyboards and concept illustrations for feature films, advertising commercials, TV shows, animation, events, spectacles historical films and documentaries.
Here you can view some of these different storyboards styles in a single pdf document. If you are looking for a storyboard artist able to work in different styles, check these to see how it might suit your project.
Storyboards can usually be delivered in a rapid turnaround time, either in digital form or hand-drawn on paper, or both.
More illustration and concept art works at alternatyves outc.
Shooting storyboards for a TV commercial directed by Marc R. Wilkins.
Client: M6 Mobile.
These were typically drawn very fast, over the course of two days.
Film location: The first TVC, “Musique” was shot in an apartment and the second film “Réseaux sociaux” at Verschueren Café in Saint-Gilles, both in Brussels.
The result of extended teamwork with producer & content designer Johan Schelfhout, Maverick ICS, this storyboard was initially used as a visual screenplay to pitch the show to Fundação Batalha de Aljubarrota but also proved a very good tool to help write the adaptation itself in sequences.
The script is an adaptation of Fernão Lopes chronicles, depicting the 1383-1385 Portuguese crisis known as Interregno. A story for the modern viewer, seen through the lenses of an almost contemporary witness, revisited by todays scholars to be as historically accurate as possible. The fierce political fights for power over the kingdom followed the death of the King Fernando I, and a civil war ensued culminating with the Aljubarrota battle in 1385, which involved Portuguese troops and English longbowmen allies fighting against Castilian and French knights. In this early version, the audience follows Fernão Lopes as the narrator on the battlefield in the the battle aftermath and is told how it came to be, from court intrigues, murders and alliances to medieval warfare and military tactics.
The film trailer:
If you are interested in medieval history in general and would like to know more about the Aljubarrota battle in particular, you should visit the museum, where you will be able to see the resulting show on wide screens.
As for the storyboards, we did many more for this adaptation, since there were adjustments made to the film, including re-shooting of a few scenes with additional budget.
Interior scenes were filmed with more people or in different locations than initially.
Even though we had a few film references, a big part of these scene actually work more like theatre.
In the end the show focus shifted towards a little bit more of spectacle and the battle itself. Subsequent storyboards reflect that.
If you liked this post, check more Aljubarrota battle reconstitution projects.
Welcome to this new site showcasing cinematic pre production works.
Film Storyboards provides production design and visual storytelling services for films, animation and cross media projects. I draw visuals for feature films, animation, advertising, games, live shows, theme parks, music videos, events, theatre and museums.
I like sequential illustration. Storyboarding represents a considerable part of my experience as an illustrator. I started out working as a commercial storyboard artist in Ho Chi Minh City, Vietnam in 1999.
From Saigon, I drew storyboards for Southeast Asia’s fast growing advertising and film scenes for the next two years. Then, moving on, continued working as a freelancer for clients in Europe and globally.
Today, storyboarding amounts to about 1/3 of my practice, alongside illustration and art direction.
Currently based in Brussels, I travel to draw on location or work from my studio. Helping production houses, advertising agencies, animation companies and award-winning directors visualise, present and pitch their projects.
For example, a shooting storyboards can be helpful for a production to estimate the budget for special effects, or help the crew prepare and communicate complex action scenes. But I am also involved in script development, conceptual illustrations and set design.
This site will host my portfolio, colour and black and white storyboards samples along with some notes about the works, preparatory drawings, roughs sketches etc.
In time, it will also provide with storyboard templates, articles and resources about storyboarding. If you are looking for a layout template for a specific film format that you don’t see on that page, you will more likely find it on the templates shop.
This site is an ongoing project, wedding the forgotten art of old school storyboarding with contemporary digital illustration. Watch this space if you love storytelling for film, multimedia and concept art.
For work related matters, you can contact me by emailing to yves//at//film-storyboards.com. But when you are in a hurry, talking is always best. For visual emergencies, please dial +32 475 418 427.
You can also follow @filmstoryboards on Twitter, a feed about sharing storytelling, production design and filmmaking related links. Story artists, film directors and productions are welcome to send news and work updates.
Thank you again for visiting.