Storyboarding – The Lost Sheep – 361mc

THE LOST SHEEP STORYBOARD SCAN.PDF – click the link to download the non-noted storyboard. Unfortunately the only noted storyboard was hand written and majority of it had been ruined or gone missing while on set.


In order to understand the storyboarding process I did some research into how to conduct it professionally. Below is a short documentary informing on how the Pixar team storyboard their films. It’s interesting to see how they make the films and make aesthetic changes to the film before the film is made. A point they make is that the storyboard process is the “re-storyboarding” process. I’ll make sure working with my storyboard artist to discuss all the points and changes that we think it should have. This has been discussed with my DOP Alec Jordan before hand, and I’ll be working off a shot list we created for the storyboarding process.


As I am directing The Lost Sheep I was put in charge of creating a storyboard for the film. I wanted to make a high quality storyboard in order to help bring across the ideas I have for the film to other people so they could visually understand as well as verbally, since “communication is the key” to Directing. Storyboarding was a very interesting process, one that I very much enjoyed. In order to get the best storyboard I could have I visited the art campus and along with my concept artists I found Chris Locke who agreed to work with me. It was the first time I’d ever worked with an actual artist to make a storyboard, as I am used to drawing out my own for my films. The process of actually sitting down in a room and describing everything I wanted was a new experience and I much prefer this process then doing it all on my own.

Nathanael McGirr and Chris Locke Storyboard The Lost Sheep

Chris is extremely talented at drawing, using him to create a storyboard cut the duration of this process down by an incredible amount of time compared to doing it myself. However the whole process still took more than 18 hours in total, it’s interesting because it isn’t just a case of describing and drawing, it’s more a case of “show and tell” than draw.

The above pictures are a perfect example of the “show and tell” process that is involved. In order to get the frame, using my smartphone’s camera, I would use objects or people in the positions that I want them to be in frame. Chris then has the picture or video to reference and draws out exactly what I’m looking for. Below is a video I put together that displays the comparison of the storyboard reference videos we used to draw from and the shots that are put into the actual film.


It is interesting to see the development from just a phone recording using the pause as a cut and one of the last edited drafts. It’s shown me how important the pre-production process really is. We are essentially creating the film before it’s actually created. Unfortunately due to time I was unable to meet with Chris again to make  storyboard for The Forgotten Child. This did slow down the process of filming since there wasn’t as visual guide that I could show to my DOP or actors like I had for The Lost Sheep. Next time I will make sure to have one on all sets as I find they save much more time than having to explained everything in just words, just as John Lasater says in the Pixar documentary “let’s show it, with storyboards”, it helps to make things clearer.



American Film Institute (2009) Steven Spielberg on Storyboarding (1978). Available at: (Accessed: 11 March 2016).

Daniel Garcia (2013) Pixar Storyboarding Mini doc. Available at: (Accessed: 11 March 2016).




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