| Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation |  | Author: Francis Glebas
Publisher: Focal Press
Category: Book
List Price: $39.95
Buy New: $24.91
as of 7/30/2010 01:46 CDT details
New (35) Used (9) from $24.91
Rating:  19 reviews
Sales Rank: 22,018
Media: Paperback
Pages: 360
Number Of Items: 1
Shipping Weight (lbs): 2.6
Dimensions (in): 10.8 x 8.4 x 0.8
ISBN: 0240810767
Dewey Decimal Number: 791.43023
EAN: 9780240810768
Publication Date: October 23, 2008
Availability: Usually ships in 1-2 business days
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| • | ISBN13: 9780240810768 | | • | Condition: New | | • | Notes: BUY WITH CONFIDENCE, Over one million books sold! 98% Positive feedback. Compare our books, prices and service to the competition. 100% Satisfaction Guaranteed |
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Product Description
Francis Glebas, a top Disney storyboard artist, teaches artists a structural approach to clearly and dramatically presenting visual stories. They will learn classic visual storytelling techniques such as conveying meaning with images and directing the viewer's eye. Glebas also teaches how to spot potential problems before they cost time and money, and he offers creative solutions on how to solve them.
* Uses the classic story of '1001 Arabian Nights' to show how to storyboard stories that will engage an audience's attention and emotions.
* With 1001 drawings in graphic novel format plus teaching concepts and commentary.
* All of the storyboarding examples have a real project context rather to engage a very visual audience on their own terms and teaches through demonstration.
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| Customer Reviews:
Showing reviews 1-5 of 19
Used this book in a storyboarding class April 28, 2010
Daniel Blair
I enjoyed this book for its insights into visual storytelling. My favorite tip is that visual communication can be constructed grammatically to form complete visual sentences one picture word at a time. At times Glebas gets a little wordy, hitting on many ideas but not nailing them down as clearly or as confidently as others. While certainly not perfect the book offered me too many ideas to receive any less than 5 stars. The book is full of gems. And it was the least expensive text book of the semester.
It was also a real treat to see Glebas demonstrate storyboarding throughout the text.
Freakin' Awesome! March 2, 2010
J. Sexton
Trust the other reviews on his book so far - this is indeed a 5-star book. One of the best books on stroytelling I've come across. It reads like a cross between Scott McLoud's Understanding Comics: The Invisible Art and Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels and Robert McKee's Story: Substance, Structure, Style and The Principles of Screenwriting. And that's high praise indeed.
The Right Stuff January 23, 2010
John B. Ludwick (Indianapolis, IN United States)
There are a myriad of books being written about animation, about story, about how it's all done. There are authors who have made a living being authors - that is, their primary trade is writing books about things. Other authors have dabbled in the film trade, but not enough to make a living at it - and have turned to writing books to supplement their income (their books are good enough, but make the process too philosophical and ethereal, like those fake teachers you see in the movies).
This is book is different - and it's very rare. This book is about the craft, in glorious and accurate detail, confirmed with supporting research and example, by a practitioner obviously tired of the many evasive books which claim to know the craft but talk about it in dodgey fashion. This is the real stuff, and I devoured this book in less than 8 days. You will, too.
 Correction of a mistake August 18, 2009
Altan Loker (Istanbul, Turkey)
Glebas says, "Altan Loker in his book Film and Suspense states to create suspenseful anxiety we need to activate cinematic wishes, experienced vicariously by the character, for sex, success, and spectacle . . ." This is the exact opposite of what I wrote.
Here is what the dictionary says about vicarious: "Experienced or realized through imaginative or sympathetic participation in the experience of another." I wrote that this is how people explain their emotions induced by the story but that this is a misconception and even a defense mechanism that serves to hide the real source of the spectator's emotions.
I wrote that the real source of the spectator's emotions is his or her own experience, not empathy or sympathy for fictive story characters. The spectator is moved by his or her real wishes related to the fictive story events and by the story events that occur as he or she wished. This makes the spectator feel responsible for what happened in the story and thus makes him or her a character of the story. Consequently, he or she sees the story evebts as real happenings.
The main problem in story telling is to make fictive events look as real events that are happening while the spectator watches or reads about them. The easy and direct way of doing this is to present to the spectator what he or she wishes and likes to see. This is what everyone knows. I called such wishes cinematic wishes and grouped them under three rubrics: sex, success, and spectacle.
What only the masters of drama know is that showing to the spectator what he or she likes to see is not sufficient to make fictive story events look like real. And when the story events don't look real, they don't provide sufficient pleasure and can even become boring. The solution of this problem is to make the spectator feel responsible for the story events as explained above. Many techniques are used to realize this, and when this is realized, the spectator can experience emotions even vicariously because the story events will look like real happenings.
The reader can profit from reading Glebas's book keeping in view the correction made above.
Altan Loker, author of the book "Film and Suspense."
Best Purchase You Will EVER Make! June 2, 2009
Scott Line (Los Angeles)
2 out of 3 found this review helpful
I am a recent graduate of the Gnomon School of Visual Effects and have been fortunate enough to have had the privilege to actually be a student in Francis' class. I remember when he was in the process of writing this book, "Directing the Story" and in my most humble opinion the book is nothing less than pure gold. There is nothing else out there that I know of that explains the true essence and meaning of film making, why we make films...and most importantly why we watch films. This book IS the Holy Grail of film making.
If you are serious about becoming a great story teller...BUY THIS BOOK! I cannot even begin to express to whom ever is reading this review how important it will be for your career if you have any interest in the entertainment industry. It has changed my life, and I know it will for anyone else out there too.
Francis was one of the best teachers I have ever had, and now having recently purchased and read the book it was like being in his storyboarding class all over again. I jokingly now envy everyone else out in the world today because they now have access to all of the golden knowledge that I had to go to film school in Hollywood to acquire.
I hope to become a director one day, and if I ever win an Oscar or any other great success I will know why...thank you Mr. Francis Glebas! =)
-Scott
Showing reviews 1-5 of 19
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