iron man 3 diego a quintanilla

Seven Ways to make your storyboards even better than before!

1. Progression of shots

It goes like this; you start with an establishing shot a.k.a the Big Picture, then we go to a full shot, we see a lot but not as much as we did with the establishing shot. Then we keep going till we hit the medium shot, the close up, and sometimes, if the story calls for it, the extreme close-up.
You see, the series of shots gets closer and closer, hence the name Progression of Shots.

For example:

2. The teaser

The Teaser is like the rebellious teen to the Progression of Shot's grumpy dad. Whereas Progression of Shots says to start out big, The Teaser is all like, "No! I make the rules now!" and starts out as small as possible.

For example:

3. Insert Shot

You can't have your cartoon in one long shot unless you want to be some arty farty loser which I'm sure you don't want to be so you gotta spice things up with inserts. So let's say you've got a gal in a close up, we do a insert of a bowl of soup and then back to her face. Bam, now the audience knows this chick is hungry for some soup.

For example:

4. Corresponding Shot

This is some real simple stuff here, ya got two guys and they're each in their own shots. Like, we got one guy who's talking then when he's done, we cut to the other guy who is now talking. See? Simple stuff.

For example:

5. 3/5 Transiton

Let's say you're ending a scene of a farm boy going to sleep, giddy with excitement over getting to go to Hollywood and when you go to the other scene where he's on the bus, amidst the hustle and bustle of Hollywood, you think, "Wait, no, there should be more stuff in the middle, what should I do then?"
What you're gonna wanna do is have a 3/5 transition, that's where, before we get to the other scene, we get get little bite-sized scenes to give the audience a sense as to what to expect what the next scene is going to be like.

For example:

6. Time Compression

Let's say Sinclair is sitting snug in his lazy boy chair, reading his favorite book, Babbitt, when all of a sudden, a knock on the door. What do we, the storyboader do? Do we draw Sinclair walk all the way across the room to reach the door? Heck no! That's too much time! Time that could've been spent referencing Over The Top. So instead, when we hear the knock, we cut to the exterior of the house where we see the knocker in question. The door opens and it's Sinclair! You see! We didn't had to draw him walking to the door.

For example:

7. Point of View

Like with Corresponding Shot, this is real simple to comprehend. Kinda disappointed Sherm would end his video on a dull note with this (also with the minutes long commercial, but I digress). If anything, Time Compression was more of a big Finish than this. Anyways, we got this guy, he sees something offscreen, we cut to a dead puppy then we cut back to him crying over it. That's a Point of View Shot.

For Example: