This Jungle Book Scene is Genius - Shot by Shot Storyboard Breakdown
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- Опубликовано: 10 дек 2020
- In this mini-lesson storyboard artist Rembert Montald shows you some hidden tips that directors and storyboarders use to help guide the eye through sequences. Whether it is with gesture lines or moving the eye effortlessly through shots and sound there are many ways to help the audience move through the story. To demonstrate this, Rembert will break down an animated sequence from the 1967 classic The Jungle Book.
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ABOUT PROKO:
Instructional How to Draw videos for artists. My drawing lessons are approachable enough for beginners and detailed enough for advanced artists. My philosophy is to teach timeless concepts in an entertaining way. I believe that when you are having fun, you learn better. I take pride in producing high quality videos that you will enjoy watching and re-watching.
Credits
Artist | Instructor - Rembert Montald (www.artstation.com/sharkyspoon)
Producer - Stan Prokopenko (www.stanprokopenko.com)
Script - Rembert Montald, Charlie Nicholson ( / shloogorgh )
Production Assistance - Sean Ramsey (www.peoplewhodrawstuff.com), Charlie Nicholson ( / shloogorgh )
Editing - Charlie Nicholson
Music Used with Permission
Music by Epidemic Sound (www.epidemicsound.com)
Intro - The Freak Fandango Orchestr
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.
I would love to learn about how to practice storyboarding for a portfolio
More storyboard break downs please! Maybe a film from Studio Ghibli?
Would love a breakdown covering Maleficent from Sleeping Beauty
The Iron Giant, please Mr Proko and Mr Rembert. Or Atlantis.
I'd love to see how a story board for animation can be different from a comic, some sort or comparison, if there is any difference.
storyboard artists works probably have the most flow and exaggeration to them than any other interpretation of art, really nice to look at
This gave me a new level of appreciation into what storyboarding really is. The amount of care put into guiding the viewers' eyes is incredible. I guess this is why the drawings themselves are pretty basic constructions, since it's another set of artists who complete complete them?
Ka’s reaction to having the “doorbell rang” unexpectedly is honestly how I think most of us feel lol, first, the inconvenience, then he readjusts his face and manner to greet the visitor 😂
Honestly, it's the whole movie that's genius.
while being my favorite book and animation as a kid, I always genuinely loved this scene this, brings character to Shar Khan, His cunningness. I always thought it was the voice actor and his way of dialogues that bring about beauty to this scene, however, I could never put my finger on it. Great video.. please more content like this.
I would love more Rembert breakdowns
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
I love how he loosens up a bit in the end, being a little goofy after he explained so well! really enjoyed this one, thank you very much
Oh thank you so much, this video has taught me theories I didn’t know existed!
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 scene alone is a testament to the genius of Milt Kahl. He is many peoples favorite out of the "Nine old Men" for a reason.
Great video that helps me look at old works of art in a new inspiring way.
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!
Milt Kahl wasn't cast to animate excentrics characters. It was the great Ward Kimball who used to animate such characters. Kahl, due to his drafman qualities was cast on realistics characters like prince Phillip, Peter Pan or Alice. He used to complain about the fact he had almost no chance to have fun animating funny characters with broad acting. For information, the storyboard artist who drew the Jungle Book storyboard was Bill Peet.
Actually, Bill Peet didn't do this sequence. He quit the project after he found out Walt didn't like his version of the story. I think Ken Anderson storyboarded this sequence.
You're the best, stan. You always giving us something inspiring.
You mean.....you always giving us something inspiring
@@nationatori oh yeah. Thats what I meant to write.
I'm actually waiting for animal anatomy course.
@@snofixartnice! and yeah it is really helpful when you know the base structure of everything you draw
this was one of the few videos that made me wanting more
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
When a cartoon for kids is more creative and well-thought than a lot of movies
Man, these guys were GENIUS!!
This was freaking awesome!!!
even if it was just sound the scene is breath-taking: a real grown-ups conversation at the edge
Amazing break down, time just flew by
Exceptional. Truly.
such a wonderful teacher
14:15 "If you're going to screw up, screw up in the right way."
Rewatched this like 5 times. Thanks.
So glad I was recommended your channel, youtube algorithm did me right this time !! Thanx for all the great info !!
So much to learn from these types of artist. So much loose expression in the art.
Great work. Very inspiring and insightful. You've given words and an excellent visual explanation to why this scene always felt so perfect and fun to look at.
This video taught me way more about shape language. I thought I knew a bit about it but the application is astounding! Bravo!
Also, a break down of some things in Fantasia would be neat!
a storybord artist, finaly my profesion
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.
Fascinating breakdown, thank you for this treat! It reminded me of Every Frame a Painting analyses. 👌🏻
Thanks for the breakdown. I’ll have to watch the movie again with new eyes.
More Rembert please!!
fantastic
That was so informative.
Thank you so much 😊
Some really great tips, thanks a lot.
That was so informative, I've learned a lot.
Soooo good , thanks
Really interesting analysis. Thank you for the break-down and your insights. 👍🏼
Great video about storyboarding!
Great video! I used to do that "staring at nothing in public" thing a lot for fun haha.
ohh, so cool. inspired, thank you!
Excellent video.
This was such an interesting video!! I'm going to research about this now, its so fun to learn :)
Wow Great video learnt a lot
Supercool. Thankyou 🔥🔥🔥
Great explanation. Thanks Proko, your videos are all high quality. I just bought your premium course figure drawing. I am very happy with it.
Honestly I was expecting a video on how to animate a Milt Kahl head swaggle.
Wonderful scene. This proko stuff is gud stuff.
Amazing reminds me of Marcus Matel framed ink
I Love that movie.
Well Done
0:15 RICKKYY!!
This is amazing! I certainly love the flow of that animation. Have you seen Frozen's 2 story boards? They were interesting to look at! Although my favorite movie of course is The Lion King.
Chacha Chaudhary ( my dad's favorite comic book series )
Nice 👌 👋 👌
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.
Can you guys get jorge Jimenez here, i would love to see him talk about his art and give some tips. His comic art is amazing and his anatomy looks so stylised but accurate
Make a video on Michael Hampton approach to Anatomy or have him as a guest in the next video
Comment 100. Awesome video!
Nicely explained..I went to watch new junglebookmovie mainly to watch this sequence with sherkhan and kaa. But it was not there...
Please analyze the transformation scene in brother bear :D it is my favorite scene in animation.
16:40. I saw that transition Charlie. I saw it, well done :)
Honestly, I'd Love to see a video about Mowgli and Kaa scene.
Content: Platinum.
17:22 I'm gonna call these "screaming goat transitions" from now on.
Rembeeeert, your dopey faaaace is on YouTuuuube! xD hahahah
13:32 is it eggs or X? please someone explain, thanks!
First thought: Hey a Dutch guy!
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?
wow Stan got Charlie Day on his show :0
Let's grow our channel together guys 😊
yuh
Watch this if you wanna be an cartoon genious.
I felt like wana told him to ask the riot to remove s11 update lmao
You're missing the main factors here. The 1960s saw a massive reduction in quality and pay for artists and animators, hence the really poor production values of Disney, and other studios' works during that period. You can actually see sketch lines and paint/ink errors all the way through, and it looked like they downgraded film stock too, to 16mm.
I love seeing the sketch lines, they give everything more life! I hate modern animation, it's far too "clean," it always feels like it's missing something.
I follow an artist (Lois van Baarle) who intentionally leaves and instructs her followers to leave, sketch lines and colouring "errors" on digital work to keep the original movement, gesture, and texture in the finished work.
@@sn4pdr4g0ns No, that's fine, but with Disney, it was simply a lack of cash to the artists etc, rather than style choice.
@@sn4pdr4g0ns tvtropes.org/pmwiki/pmwiki.php/UsefulNotes/TheDarkAgeOfAnimation
"However, the failure of the lavish feature film Sleeping Beauty prompted both a downsizing of the animation studio and a retreat from fairy tales for the next 30 years. These changes showed in their next feature, 101 Dalmatians, their first film to be unambiguously set in contemporary times. Furthermore, the studio took advantage of a new technology called xerography, a dry photocopying process that eliminated the need to hand-ink the animation, which was the only practical way to produce a film with such visual complexity. However, the technology only allowed for black outlines, which forced a hard scratchy visual style for years until The Rescuers when softer outlines with various colors were possible."
+Spillage66
I bought the whole Disney Animated box set and have notice that the current movies I'm watching (Jungle Book, The Aristocats, 101 Dalmatians ect...) were less refined and some frames still have the sketch lines on them. After watching Cinderella and the other Disney films which came far earlier and have better artwork, I did wonder why. I thought it might be to save time or maybe experimenting with a new art style but your explanation makes more sense!
Funny because I always thought the Jungle book was one of the first Disney films due to the quality, but it wasn't.
Thanks!
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.
Why there is blood on your nose?
does he have to stare like this
I guess I am the first
Does he know what Genius word is777 Thats a fcken base... about focal point =))
I cant really make our what you are saying.
The sound of your video has an echo.
poggers
thumbs down....