FInal Project - Script

Strawberry Mary and Tangerine Noreen have just left Citrus City. The two of them continue down the road and decide that they want to go towards to Ocean front. They are extra excited to see the beach because neither of them have really seen a wide body of water before. The only ones who are near the waters are those Pirate Bananas.
The two keep walking and come up on a fork in the road. The path to the right leads to the beach, and the path on the left leads towards the mountains. Mary and Noreen keep to the path on the right and continue on their way. However, they notice that this path is becoming thick with trees and shrubbery. The girls are now feeling quite cautious and worried that this may be the wrong path.
As they begin to walk quicker, Noreen feels as though they are being followed. The two girls are now quite terrified and try to get out of the forest quickly. Then out of the bushes comes a backflipping ninja!
Sheri the ninja introduces herself and questions Mary and Noreen about why they are in her forest. Sheri was supposed to be harsh and cold in her questioning, but her curiosity got the better of her once she heard the word "adventure". Sheri, Mary, and Noreen talk for a bit more and explain the purpose of their journey and what they hope to find. Sheri then takes them to her hidden village, Shinobi.
As they head into the village, the Shinobi people immediately are curious and come out to see these visitors. The first thing Mary notices is the amazing architecture of this village. There were such tall buildings and beautiful structures, Mary couldn't believe that this village was hidden. After a short tour around the city, Sheri takes them to the Emperor of Shinobi.
Over dinner, Mary and Noreen discussed their reasoning for their adventure and where they planned to go. The Emperor decided that this was something he wanted to take part in and asked for a volunteer to go with Mary and Noreen on their adventure. A very excited Sheri immediately volunteered. The Emperor agreed whole heartedly and told her to be sure to take notes of all the tall buildings and structures she saw.

FInal Project - Storyboards

Final Storyboards for Fields Forever

Strawberry Fields Forever - Story

Strawberry Fields

In the land of Strawberry Fields Forever, young Strawberry Mary resides in a comfy, country life-style with other Strawberry Fields citizens. Life in this city is quiet, friendly, and filled with an abundance of floral life. The residents of this town love planting and growing flowers. Each of the townspeople has a specialty item that they just love to grow. For example, Strawberry Gary loves to grow tulips. He has the most gorgeous tulips of all the Strawberries, and they come in the most interesting and eye-catching colors. Our main character, Mary, loves daisies. Day after day the citizens fill their time with laughter, chatting, and planting.
One afternoon, Mary starts to wonder what else there is outside of the Fields of Forever. All she can see around her are just fields and fields of flowers. Although the town ships their gorgeous flowers to neighboring cities, no one in the Fields of Forever has actually gone outside. A few tough looking sea people come and ship their flowers for them, and brings back other goodies in return. Mary decides that there must be something beyond these fields - where else could all these wonderful goodies come from?
After coming to that realization, Mary packs a few things and tells her friends that she wants to go on an adventure to see what is outside of their fields. Her family and friends worry about her saying that no one else has ventured outside and they fear for her safety. Mary says that she is going to keep a journal of everything that she encounters and that she will return one day to share what she has experienced. So, Strawberry Mary leaves her quiet life of the Fields Forever and heads down the long, windy road.
A few hours of walking, Mary comes upon a fork in the road. There are paths leading to all sorts of directions. Where will she go? An arrow points to Blueberry Boulevard, Citris City, Marshmellow Mountain, Pear Place, Grape Grove. Mary has heard a few things about the Citris people. There were rumors that they were all sour, mean, and overall grumpy people. Mary hesitates for a bit, but starts to wonder, how they could be so grumpy when they produce such comfy shoes? Almost everyone at the Fields of Forever owned a pair, and they all claimed that at the end of the day they all looked forward to coming home and putting on their comfortable slippers! Even Mary owned a nice pair of walking boots from the Citris folk.
With that in mind, Mary decided that she wanted to find out if these citris people were as mean as the people back home said. She wanted to see for herself how such angry people made such wonderful shoes!
It was late afternoon when Mary realized that the air had a slight scent of lemons, limes, and grapefruit. She breathed it all in and gathered her strength as she walked towards the city.
Once inside the city, Mary saw that the citris people here were quite ... mellow. They were all lounging in trees or on the grass, singing or sewing materials for shoes! They played music and even smiled at Mary even though she was quite obviously not a citris!
As Mary walked deeper into the city, she was greeted by miss Tangerine Noreen. Noreen and Mary bonded very quickly as Noreen showed Mary her town and told her about her people. Mary could not believe her ears or eyes as she saw how welcoming and friendly this whole town was! Everyone in Citris City was just as curious about Mary as they she was about them. They all wanted to know how they could keep their freshly cut flowers longer, and how they could never get their flowers here to grow as lovely or as fragrant as from Fields of Forever. Mary was surprised to hear that most of the townsfolk here thought that residents in Fields Forever were the most frightful and timid people ever. Mary set them straight and even showed them how to plant a few of her favorite daisies.
After dinner, Noreen offered her tree home to Mary as a place to stay for the night. She noticed that Mary was busy writing and writing away in her journal. Mary then told Noreen about her desire for adventure and to see what the other neighboring cities were like. Noreen was also curious because like Mary, no one has ever gone out of the City and come back to talk about their findings. Mary decided to stay at Citris City for a few more days to learn about the people here. The Citris were very earthly people. They showed her how they made those famous, comfy shoes, how to play a guitar, and even how to prepare their most favorite dishes.
At the end of the week, Mary decided that it was time to move on, and told the Citris that she would never forget their kindness. As she said her good-byes and turned to leave, Noreen came running out with a suitcase in hand. Noreen has decided that she too would love to see what else is out there. Mary welcomed this new friend and fellow adventurer, and together the two of them walked out of Citris City and onto their next adventure.

Strawberry Fields Forever - Characters

These are some of the characters that our main character, Mary will encounter.

Strawberry Mary
Strawberry Fields Forever

Tangerine Noreen
Citris City

Pear Blaire
Pear Place

Grape Kate
Grape Place

Blueberry Billy
Berry Boulevard
Banana Ana
Banana Boardwalk

Cherry Sheri
Shinobi Village

Project 2 - Strawberry Fields Forever Storyboards

Location: Fields Forever

Strawberry Mary is leaving her hometown and off to explore the world beyond her city walls.













Location: Citris City

Mary has arrived and met the Citris'. She is befriended by Tangerine Noreen who gives her a tour of the city.

ToonBoom Chase Scene

Chapter 07 - Summary

Chapter 7 - Color

Hue: pure spectrum colors like red, orange, yellow, green, blue, violet.

Saturation (chroma): purity of the hue.

value (intensity): the relative darkness or brightness of the color ( 100% is black and 0% is white)

Primary colors: 3 colors by which all hues can be mixed.

painters primaries: red, blue, and yellow. (subtractive)

printers primaries: cyan, magenta, yellow. (subtractive)

primaries of light: red, green, blue. (additive)

secondary colors: the mixture of two primary colors.

additive colors: mixing of two or more sources of light to create color. (white light is all three colors)

subtractive color: mixing pigments of ink or paint. (mixing three primaries will result in a grey/brown hue)

complementary & triadic relationships: complementary colors are found 180º apart from the color wheel. triadic relationship colors are separated by 120º.

warm colors: yellow, orange, red

cool colors: blue, green, purple

analogous colors: colors that are adjacent to each other on the wheel. (ie: red and orange)

contrast: relation between the perceived values of the adjacent.

simultaneous contrast: how colors are relating to each other and its environment.

monochromatic color: using a single hue that dominates the frame.

bichromatic/trichromatic: two or three colors used within a frame.

Begleiter tells us that colors play a very important role in the story. Colors can also have a different meaning or symbolism depending on the culture as well.

Chapter 06 - Summary

Chapter 06 - Composition

In chapter 6, Begleiter talks about designing objects within the frame.

1. - Positive & Negative Space : positive space is the area that defines the object or the figure. Negative space is the space between the objects. Negative space is equally important, as it can foreshadow something that is coming outside of the frame.

2. - Depth in the Frame : changes in scale, overlapping objects, change in focus, and color shifts.

3. - Change in Scale : you can trick the audience into thinking that a set is bigger than it actually is by playing with scale.

4. - Overlapping Objects : viewers eyes judge distance by the depth and density of the super imposed items.

5. - Changes in Focus & Depth of Field : This is a function of the cameras lens length and aperture is used. This is important because it leads the audience to the main focus of that shot - what is in the greater depth of field or what is in focus in a shallow depth of field.

6. - Symmetry : the angle of reflection is an imaginary line that separates the frame into two mirror imaged halves. (vertically, horizontally, or diagonally.) Radial symmetry is a point that pivots around one central point to create balance.

7. - Asymmetry : has a variety of forms that aren't mirrored to the other side.

8. - Balance : balance is measured by size, scale, value, color...equal weight on both sides of the frame.

9. - Imbalance : where does the eye go to and where does it return to.

10. - Series : created by a repetitive form or line within the frame. The viewer will be drawn to anything that is not part of the pattern.

11. - Randomness : this is the arrangement of items that has not been manipulated by humans.

12. - Lines and Shapes: Horizontal lines defines the width of the frame. Vertical lines are often found when there is something that defies gravity. Diagonal lines often lead the eyes outside of the frame.

13. - Circles, Squares, Triangles, & more : using other shapes to frame your picture within a rectangular frame.

14. - Contrast : measured in terms of percentage of darkness, black is 100% white is 0% (the absence of black).

15. - Texture : this is the grain and depth of field that is used to create the feel of the film.

Extended Frame Exercise

So, this is a shot from my all time favorite animated cartoon series, Chowder. =)

chapter 05 - Summary

Chapter 5 - The Extended Frame

In chapter 5, Begleiter talks about why extending a frame of action is necessary. She describes the use of extended frames as showing how a shot begins and how a shot ends. The extended frame goes on to tell the director and camera operators how to frame the shot and what to focus on. It also will explain the type of shots/angles to use. ie: a dolly/zolly, pan, tilt...etc.

Extended shots are useful in showing the entire scene, and not just where the action is happening. It gives the frame a fuller picture.

Chapter 04 - Summary

Chapter 04 - Aspect Ratio

standard aspect ratios:

tv/computer screens - 1.33:1 (4:3 or academy standard)
16 mm film/european projection - 1.66:1
american projection - 1.85:1 (standard ratio, post 1950's)
widescreen super 35- 2.35:1 (70 mm, widescreen, cinerama, cinemascope)
high def - 1.78:1 (16:9)
IMAX - 1.43:1

How to compute the aspect ratios into storyboards:

take the aspect ratio and multiply it by the number of boards you want.

ie: for a high def storyboard with four shots - 1.78 x 4

Letterbox format presents the film as it was filmed but is cut off with black boarders on the top and the bottom. about 1.85 or cinemascope film.
Pan and scan is the reformatting of the original composition to fit the aspect ratio of 1.33:1 of TV.

Chapter 03 - Summary

Chapter 03 - Text, Image, and Diagram

The three main types of pre-production documents are the shot list, the overhead diagram, and the images.

The shot list determines the scale - relationship of the camera frame to the subject/object, angle - the position of the camera in terms of height and horizontal placement, camera movement - movement during a shot, blocking - where the characters are on the set and where they will be moving to in relation to the screen, and script notations - the dialog that goes with the camera movement and action.

Begleiter goes through the many descriptions of the different camera angles and movements, and the editing and transitions of the camera.

Overhead diagrams provide sketched out placements and views of the cameras which include where the actors and props are in relation to the cameras. It shows the set up and movement of camera and actors. Lines, icons, colors, etc. are very important in this diagram.

Chapter 02 - Summary

Chapter 2 - Storyboards in PreProduction

In ch. 2, Begleiter tells us the importance of the 5 W's (what, why, who, when, & where - in that order!) and the difference between editorial storyboards, key frames, production illustrations, and commercial boards.

Editorial Storyboards:

-how the shots are going to be edited together. not the order of shooting.

-shows off the creative concept of the director

-8.5" x 11" format, one to four frames per page

-Focus on the camera angles and composition of shot

Key Frame:

-higher rendition than the editorial boards.

-shows only the highlight images from a sequence; the most important scenes.

-8.5" x 11", one image per page.

-usually a sales pitch.

-suggests mood and style.

Production Illustration:

-fully rendered and highly polished

-WS of the set, 14" x 20", one per page.

-creative concepts from the production designer, to show to the director and producer.

-focus on the color, texture, furnishings, and the spacing.

Commercial Storyboards:

-highly rendered, colored images.

-the creative concepts of the advertising agency.

-presents the idea to the client, doesn't include camera moves.

-6" x 8", mounted to a board and shown in sequential order.

-used to pitch the ideas and to get directors to bid on the commercial idea.

Begleiter also elaborated on how to prioritize what should be storyboarded based on budget and time.

1. special effects

2. stunts/pyrotechnics

3. crowd shots

4. action sequences

5. complex camera movements

6. montage sequences

7. opening and closing scenes

My Storyboard & One paragraph story

In the city of Fields Forever, little Strawberry Mary has decided that she wants to go out and explore the neighboring towns. No one has ever gone outside of Fields Forever and come back to tell about it. Along the way she goes on many exciting adventures and meets new friends such as Blueberry Billy, Pear Blaire, Tangerine Noreen, and many more. As Strawberry Mary leaves Fields Forever and moves travels to new cities, she learns about herself as well as others.