ABSTRACT
A sample stick figure storyboard from my first film, Caleb's Door. https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9780203588949/9d94de66-12ca-43b6-a651-073518b2fe74/content/fig19_1_B.jpg" xmlns:xlink="https://www.w3.org/1999/xlink"/> Once you have your locations, and you have some idea of what camera you’re shooting on and who’s on your crew, you can create your previsualization (“previz”). I’m using this broad term to encompass several methods/tools – top-down diagrams, storyboards, “action-figure” mapping, special software, and straight-up shotlisting. This chapter isn’t going to get into a detailed analysis of composition and camera movement. What you really need to know is how previz can help your film. So we’ll focus on how to approach previz from different points of view, highlight the strengths and weaknesses of the different methods available (in a broad sense), and tie your efforts back to the script.
