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This Jungle Book Scene is Genius – Shot by Shot Storyboard Breakdown และรูปภาพที่เกี่ยวข้องstoryboard คือ อะไร
storyboard คือ อะไร และข้อมูลที่เกี่ยวข้อง
Rembert Montald ศิลปินสตอรี่บอร์ดบทเรียนขนาดเล็กนี้จะแสดงเคล็ดลับที่ซ่อนอยู่ซึ่งผู้กำกับและสตอรี่บอร์ดใช้เพื่อช่วยแนะนำการมองผ่านซีเควนซ์ต่างๆ
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#Jungle #Book #Scene #Genius #Shot #Shot #Storyboard #Breakdown.
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This Jungle Book Scene is Genius – Shot by Shot Storyboard Breakdown.
storyboard คือ อะไร.
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Thanks Rembert! Let us know in the comments if there are other animated films you’d like him to break down or if you’d like to learn more about storyboard production.
Rewatched this like 5 times. Thanks.
Honestly, I'd Love to see a video about Mowgli and Kaa scene.
I Love that movie.
Love this – the movie is pure genius and the thought that went into it is mind-blowing, especially when you watch it when you're younger without realizing what's behind it
Wonderful scene. This proko stuff is gud stuff.
Excellent video.
This was great! I cant wait to see the Once Upon A Time in the West breakdown – that intro has always been my goto example of genius cinematography.
17:22 I'm gonna call these "screaming goat transitions" from now on.
Content: Platinum.
Some really great tips, thanks a lot.
First thought: Hey a Dutch guy!
Great program thanks Proko.
The best way to draw is to copy things, the pro's do life drawing, a real test is to draw something recognisable in 10 or 20 seconds.
Drawing and art can help you find a way to a womans heart.
I really like your boarding and drawing style, it's clear, concise and what digital thing are you using please Rembert or is it paper work?
There are too many good animation scenes to name the best but I really liked a small sketch with Joanna the egg stealing lizard being talked to by the unpleasant hunter character Keech, voiced by George C Scott in The Rescuer's Down-Under.
I've always drawn but had a severe art-block for a number of years, ironically the covid pandemic and my fathers death has really helped get me drawing, stay sane and off the bottle. A days drawing can be like a day's labouring on a building site, it really drains you at times.
I once worked for an animator who was going to animate old German poems which was a great idea but the funding fell through. Anybody out there doing a drawn animated film and needing a proficient assistant animator's help with your film, let me know please, I'm fast (ish) and still have my peg-bar, digital line tester and animation table.
Creating storyboards is so important and vital for a number of different industries and is a career you could do without qualifications, you just have to be good at creating visual sketches, telling a story like a comic book, a line of drawn pictures.
Loved the work at 0:32, really stunning stuff. I actually met Ollie Johnston, one of the 9 old men shown at 1:25, he visited the studio I worked at in Battersea to see his old mate Tiger West, another American animation great who was hard artist there.
I spent 2 years at Fairoak film school doing storyboards and making films. At the end I asked my teacher, Peter Turner, when I'd get my first job? ''Probably about 5 years.'' He was right and I did about 20 years working on features and commercials, starting as an inbetweener and then an assistant animator and it was a great life and well paid for those who worked hard. I also drank hard and the two don't mix well.
It was about 5 years before I got my first job, a contract for 5 films for a BBC art program called Hartbeat in the 80's where they paid me about £100 a film with half again if the program ever aired again. It did….once, and the first film took me a month to finish drawing it.
In 1987 my big break came by chance when my friend Dan spotted a newspaper ad for Disney artists in Camden Town, London for a new, ground breaking film called Who framed Roger Rabbit, they wanted artists who could draw a strong clean line, I got the interview and a drawing test.
The test was copying the Fantasia ostridge head for the Disney film Who Framed Roger Rabbit, I passed and then worked for £200 a week for about 6 months as an inbetweener doing about 8 to10 drawings a day.
The studio was 3 floors in a converted warehouse, top floor was Richard Williams and about 20 animators who churned out the scenes following the storyboard which was pinned on a long wall.
All the rough scenes would be brought to our floor where the assistant animators cleaned up the drawings following the relevant character model sheet and I did the inbetween drawings on the scenes I was given, the finished scenes were scanned onto acetate film and the matt roto department finished the drawings shadow level.
1992 I was given a flight ticket to Munich where I worked for Wolfgang Urchs on a kids film called Peterchen's Mondfahrt and other German childrens films, after they finished I got a job in a commercial studio, Dowsing & Leonard where I did about 40 drawings a day and was the only assistant for 2 animators.
The best storyboard I ever did was for a series of animated poems of nonsense, I did 5 versions before it flowed and looked right.
I left the business when the boss bought an Animo digital colour and scanning system which replaced all 4 of the studio's paint & trace ladies making their job obsolete. One operator could scan and colour the required 350 drawings per job in about 4 hours, this would have taken paint & trace about a week.
One day whilst drunk at the Munich Stark bier festival I met my Bavarian lady soul-mate and managed to write her phone number down.
2 years later we moved back to the UK, 2 kids +a 30 year marriage later I now render and plaster in lime putty mortars and slake my own quicklime for small jobs and draw mostly birthday cards for my family.
Being a freelancer and with my contacts I used to inbetweening work at home and courier the finished scene's back to studio's around Europe but after everything went digital in about 2001 the work dried up (lie my career) because it was cheaper for studio's to send the scene's to Poland,China or the Philippines where they did the work cheaper.
I've met some great and interesting people from different countries, real masters of their craft and been so fortunate and privileged to know and been painted by the late great Jack Chalker, a medical illustration painter who survived the Japanese Death Railway camps on the river Kwai and who had smuggled out many drawings of the camp conditions, desease and jungle sores and the who were all but forgotten because they were a bit of embarrassment for the British government after they surrendered to the Japanese when they lost Singapore during WW2.
Changing careers isn't a bad thing, jobs aren't for life and we've no idea what job to do. Change is usually good, now I draw for fun and plaster for a living and my wife is my sugar-mummy.
All the best to my fellow pencil jockey's and good luck with whatever art job you do.
Exceptional. Truly.
When a cartoon for kids is more creative and well-thought than a lot of movies
Great video about storyboarding!
Wow! I had absolutely no idea how intentional all of this was, and its very eye opening. Thank you so much for this video, I learned a lot!
Describing what we see 🙁 Everyone knows and loved the whole movie. And the whole movie is special in every means. Describing any clip, like in this video telling what we see, the guy describing isn't required. Just play the clip and some pencil tests of this shot if studio has released.
Let's grow our channel together guys 😊
I cant really make our what you are saying.
The sound of your video has an echo.
0:15 RICKKYY!!
More Rembert please!!
even if it was just sound the scene is breath-taking: a real grown-ups conversation at the edge
Rembeeeert, your dopey faaaace is on YouTuuuube! xD hahahah <3
Does he know what Genius word is777 Thats a fcken base… about focal point =))
wow Stan got Charlie Day on his show :0
I felt like wana told him to ask the riot to remove s11 update lmao
So what practical effect does the composition have? Do the gesture lines actually draw the viewer's eye towards the faces, as opposed to the viewer's eye being naturally drawn towards faces? Is there an example of bad composition to illustrate the difference?
It’d be ace to see him break down some Ghibli films like laputa castle in the sky, or some action/fight sequences, brilliant video really helpful for people looking to get into boarding
does he have to stare like this
This was eye opening! Just getting into animatics in my second year now. I want to do flashy and complicated stuff like action and fight scenes, but this definitely reminded me to keep in mind the basics and keep things simple. Thank you!
This was such an interesting video!! I'm going to research about this now, its so fun to learn 🙂
Amazing reminds me of Marcus Matel framed ink
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