I think it is important to be knowledgeable about filmmaking when one storyboards for film. In essence, the storyboard artist may be acting as the director, cinematographer, actor, editor, and even wardrobe, hair and makeup artist when drawing out the panels for storyboards. Of course, once done with the storyboards, the pros take it from there and apply their individual expertise, and take it to a much higher level. But if done well, those initial storyboards get things started in the right direction. If well done and sensitive to the art of filmmaking, those boards can communicate a vision, inspire, and motivate the creative leads on the film to reach their full potential of the film.
In order to try to draw up to this standard I have centered my studies on books such as THE WRITER’S JOURNEY by Christopher Vogler, SCREENPLAY by Syd Field, STORY by Robert McKee, SAVE THE CAT by Blake Snyder, and THE VISUAL STORY by Bruce Block (among others).
I have also studied books specifically about storyboarding such as FROM WORD TO IMAGE, by Marcie Begleiter, FRAMED INK by Marcos Mateu-Mestre, and DIRECTING THE STORY by Francis Glebas.
It also helps to have taken workshops with Bruce Block and France Glebas.
