The Difference Between an Animatic and a Storyboard

A storyboard is defined as 'a sequence of drawings, typically with some directions and dialogue, representing the shots planned for a film or television producton.' Here is an example of a storyboard:


The definition for an animatic is 'a preliminary version of a film, produced by shooting successive sections of a storyboard and adding a soundtrack.'

Click here for an example of an animatic.

The difference between the two planning techniques is that, while a storyboard is a collection of images displaying what the various shots will entail, an animatic of the same project would use the same images (whether drawn or photographed etc.) and create a slideshow with them including added sound/music. This enables you to determine how long each shot will last and the transitions you plan to have between each shot/scene.

Creating the atmosphere of a Film Noir using photography

Once we had captured our Film Noir styled photographs, I found these images by other artists that I can compare them to:

With this image, we attempted to capture the seductive manner of the femme fatale. It gives the impression that she is awaiting something to happen, or someone to meet. There is light behind their heads, portraying them (falsely) as angelic.

With this image, we experimented with lighting so that we created a shadow behind the character, which gives the sense of a dark and haunting past shadowing them.

With this image, we wanted to create intensity by having the gun point directly at the camera. We also created a shadow on the wall for the same reason as previously mentioned. 

With this image, we created a sense of danger from an unknown source. We did this by positioning the shadow of a gun pointed at Courtney (the victim) against the wall. Mystery is an important factor in a film Noir. 

With this image, we created the femme fatale character; dressed in a long dress, smoking, with a large shadow against the wall behind her (to represent either a dark side to her character or a dark and troubled past).

With this image, we intended to create interesting shadows across the character's face in order to signify danger and/or a dark side to the character. The photograph leads the viewers eye from the gun to its shadow and finally Eloise's eye. 

This final image is my personal favourite of the shoot, as we have taken aspects and techniques from all of the previous photographs to create a stylish representation of the overall femme fatale character. We had fun experimenting with lighting during this activity, and we will be sure to try to include aspects from these images in our opening title sequences.

Audiences: Trends, Profiles and Patterns

Audience types: 

• Passive= the product is received but the audience is not choosing to engage with it.
• Active= the choice is made to consume the product, and to engage with it.

• Preferred= the target audience whom the product is aimed at.
• Oppositional= the potential target audience whom an industry needs to persuade.

• Traditional= stick to safety and familiarity by going to the cinema and buying DVDs.
• Hedonist= take risks by watching new, different and challenging conventional films.
• Post-modern= use new ways of watching films, such as streaming and sweding etc.

The reading is how an audience receives a media product. If an audience has a negotiated reading of a film, this means that it has multiple meanings and interpretations.

In his article titled Audiences: Trends, Profiles and Patterns: What People Go to See, Why and How to Reach Them, Pete Buckingham (Head of Distribution and Exhibition, UK Film Council) suggests that age and demographics (education and/or disposable income) influence audience patterns. For example, 40% of cinema audience are aged 15-24. Whereas, 20% (half of the previous age group) of cinema audience are over 54s. 38% of cinema audience are aged 35-44s. Buckingham claims that age also influences the frequency of cinema trips; 60% of heavy cinema goers are aged 15-35, 50% of medium cinema goers are aged 25-44 and 32% of light cinema goers are aged 55+. Regarding demographics, ABC1s form between 60 and 66% of cinema audience. 

I would say that my audience type (regarding viewing habits) is either an impressionable socialite or an impulsive materialist.

I would be an impressionable socialite because

• I am aged under 25.
• I like blockbusters.
• I'm led by ads.

I would be an impulsive materialist because

• I enjoy an evening of film-dinner-drinks.
• Word of mouth is key.

However, these audience categories are overly specific in my opinion, as there are some elements that will not be relevant to that category of audience. For example, although I would see myself in the 'impulsive materialist' category, I would not say I was 'impulsive' or that I was a 'fashion victim'. The second page of the following presentation will display these categories:

Audience pete buckingham what people go to see from Elaine Humpleby

Research and Critical Theory: Understanding Narrative Theory

Media narrative codes from Elaine Humpleby

An example of a linear film is Finding Nemo, as the plot is all shown in a chronological order; Nemo's mother and siblings are killed, he goes to school, he gets captured by fishermen, Marlin begins his search for him etc. This conforms to the genre of the film because, as a family-oriented Disney-Pixar film, it must be easy to comprehend.

An example of a non-linear film is Forrest Gump, as the events of the plot are not in a chronological order; Forrest has flashbacks of his childhood, and tells his story not as it happens but as he remembers it whilst describing it to someone at a bus stop. I would categorise this film in the adventure genre as it shows the events in Forrest's life, however it is unconventional because it firstly appears to be a period drama set in the second world war but has elements of war action, romance and comedy.

An example of a multi-strand narrative is the soap, Eastenders, as the programme constantly focuses on multiple character's lives and these characters intermingle with each other and all play a part in each other's storylines. Minor characters (such as Dorothy Branning) are often used to transfer the camera from one storyline and set of characters to another in one swift movement, such as walking across the square and leading the camera with them.

An example of a dual narrative is 8 Mile, as it simply follows the events and challenges that Eminem's character faces as he attempts to make a life for himself using rap.

An example of a film with action codes is Spiderman, as all events in the film occur as a consequence of another action. For example:

1. A radioactive spider bites Peter Parker
2. Peter gains super powers and practices them
3. Peter uses these powers against crime
4. A burglar murders Peter's uncle
5. Peter seeks revenge
6. etc.

Action codes are popular with films involving super heroes, because they are given reasons for conflict against villains.


An example of a film with enigma codes is The Ring, as the main character spends the duration of the film unraveling the mystery of why her niece's death was caused by watching a video tape. The audience also participates in this journey with her as they find out elements of the past along with the heroine.