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Story-boarding essentials : how to translate your story to the screen for film, TV, and other media / David Harland Rousseau and Benjamin Reid Phillips.

By: Contributor(s): Material type: TextTextSeries: The SCAD creative essentials seriesPublication details: New York : Watson-Guptill Publishers, [2013]Edition: First editionDescription: 191 pages : illustrations ; 28 cmISBN:
  • 9780770436940
  • 0770436943
DDC classification:
  • 791.43 ROU
Contents:
Foreword -- What is storyboarding? -- Interpreting the written word -- Rendering -- Principles, elements, and conventions -- Continuity -- What the camera sees -- Move me! -- The Martini shot -- Afterword.
Holdings
Item type Current library Call number Status Date due Barcode
Standard Loan Clonmel Library Main Collection 791.43 ROU (Browse shelf(Opens below)) Available 30026000072537
Standard Loan Moylish Library 791.43 ROU (Browse shelf(Opens below)) On Order

Enhanced descriptions from Syndetics:

A comprehensive guide to visual storytelling from Savannah College of Art and Design (SCAD), one of the world's leaders in sequential arts instruction. Storyboarding is the process of graphically organizing a project--a motion picture, animation, motion graphic, or interactive media sequence--in order to translate artists' ideas from story to screen. Whether you're a filmmaker, animator, ad director, writer, or video-game artist--storyboarding is a skill that is absolutely critical. Storyboarding Essentials covers everything students and working professionals need to master the art of writing and formatting scripts, creating frames, and following visual logic to create a cohesive narrative.

Foreword -- What is storyboarding? -- Interpreting the written word -- Rendering -- Principles, elements, and conventions -- Continuity -- What the camera sees -- Move me! -- The Martini shot -- Afterword.

Excerpt provided by Syndetics

Regardless of genre or discipline, storyboards share a language that reflects the jargon and terminology employed by industries born out of the filmed visual narrative. They connect written word to final cut; they concern themselves with what the camera "sees" (framing height, camera angle, and movement); they use standard and recognized formats (aspect ratios); and they even employ similar organizational systems (numbering). While the cinematographer relies on instinct and experience, a good storyboard artist will develop a strong understanding of camera angles and framing heights to help the director achieve his or her vision. Excerpted from Story-Boarding - Essentials: How to Translate Your Story to the Screen for Film, TV, and Other Media by Benjamin Reid Phillips, David Harland Rousseau All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Author notes provided by Syndetics

BENJAMIN REID PHILLIPS has been teaching drawing, storyboarding, and sequential art courses at SCAD since 2004. He is also a sequential artist and illustrator whose work has been featured in the Cartoon Art Museum's Monsters of Webcomics series. He won the Georgia College Press Association's Best Editorial Feature for his District serial, Dr. Dead. Phillips has also worked on Devil's Due comic edition of FOX's hit TV series, Family Guy.
DAVID HARLAND ROUSSEAU has taught drawing and design courses at SCAD since 2005. He is an entrepreneur, author, award-winning illustrator, graphic designer, actor, and former video journalist and news reporter. In 2008, he was named to the Business Report and Journal's "40 Under 40" list, and is the recipient of a Silver ADDY Award. He has also written Savannah Tavern Tales and Pub Review and Savannah Ghosts- Haunts of the Hostess City, illustrated by Julie Collins.

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