Punjab PSEB Matric NSQF Media and Entertainment (Storyboard Artist) cheat sheet

The media and entertainment sector splits into film, television, animation, gaming, print, advertising, radio and live events; storyboarding serves film, TV, animation, gaming and advertising most directly.

Film production follows three phases: pre-production (script, budget, storyboard, schedule), production (shooting), post-production (edit, VFX, sound, colour). Storyboarding belongs to pre-production.

In animation the pipeline runs script → storyboard → animatic → layout → animation → compositing; the storyboard is the first visual lock on timing and staging.

Indian media classifications: films are certified U/A or A by CBFC; NSQF levels 1-10 map skill competence, with Matric NSQF entry typically at Level 3-4.

Crew hierarchy for visuals: Director → Director of Photography → Production Designer → Storyboard Artist; the storyboard artist reports to the director, often via the art department.

Storyboard artists are usually paid per panel, per day or per project; industry day rates vary by city, project type and experience, so negotiate scope (revisions, thumbnails, cleanups) explicitly.

A storyboard is a communication document, not finished art: its job is to convey framing, camera movement, character action and timing to the production crew.

Formats: feature films use 16:9 or 2.39:1 frames; TV uses 16:9; social media vertical uses 9:16; the frame ratio on the board must match the delivery format.

Three-act structure: Act I setup (roughly 25%), Act II confrontation (roughly 50%), Act III resolution (roughly 25%); the first turning point ends Act I, the second ends Act II.

The inciting incident is the event that disrupts the protagonist's normal world and launches the main conflict; it usually occurs in the first 10-15% of screen time.

Character arc: the protagonist moves from a want (external goal) to a need (internal truth); the climax should force a choice between them.

Conflict types: person vs person, person vs self, person vs nature, person vs society, person vs technology; every scene should carry one active conflict.

Show, don't tell: convert exposition into visible action or conflict; a storyboard panel showing a torn photo communicates more than a caption saying the character is sad.

Beat = smallest unit of story change; scene = a unit in one location and time; sequence = a group of scenes building one idea. Board one beat per panel where possible.

The hero's journey (Campbell/Vogler) has 12 stages including Ordinary World, Call to Adventure, Ordeal, Reward and Return with the Elixir; useful as a diagnostic checklist, not a rigid formula.

Cause-and-effect chain: each panel should answer 'because of the previous panel, this happens'; if two consecutive panels can be swapped without loss, the narrative link is weak.

Standard screenplay format: scene heading (INT./EXT. LOCATION – DAY/NIGHT), action description, CHARACTER NAME in caps, dialogue, parentheticals, transitions.

Scene heading abbreviations: INT. = interior, EXT. = exterior, I/E = interior seen from exterior, CONTINUOUS = no time gap, LATER = same location, later time.

Read the script at least twice: first pass for story and emotion, second pass marking shots, cuts, camera moves and key props in the margin.

Dialogue length signals shot length: long speeches usually need multiple coverage angles (wide, over-shoulder, close-up) rather than one static panel.

On-screen text like SUPER: or TITLE CARD: must be boarded or noted, because it affects composition and safe-area planning.

Parentheticals such as (whispering) or (V.O.) indicate performance and audio treatment; V.O. = voice-over, O.S. = off-screen sound source.

Track page count and scene numbers: one script page ≈ one screen minute; a 90-page script implies roughly 90 minutes of screen time.

Note subtext: what characters mean versus what they say; boards should stage bodies and eyelines to reveal the subtext, not just illustrate the words.

Shot = continuous camera run; scene = action in one location and time; sequence = scenes unified by one dramatic purpose. Break each scene into shots before drawing.

Coverage set for a dialogue scene: master (wide), two-shots, over-the-shoulder singles, close-ups, and inserts for props or reactions.

180-degree rule: keep the camera on one side of the action line so screen direction and eyelines stay consistent between cuts.

30-degree rule: change the camera angle by at least 30 degrees between consecutive shots of the same subject, or the cut reads as a jump.

Match on action: cut during a movement (a door opening, a hand reaching) so the action carries across the cut and hides the edit.

Establishing shot sets geography; then move to medium and close coverage. Reverse the pattern (close first, then reveal) only for deliberate disorientation.

Shot list columns: scene, shot number, description, size, angle, movement, lens, props, duration. The storyboard should match the shot list one-to-one.

Continuity of props and wardrobe must be noted per shot; a missing watch or moved cup breaks the illusion between cuts.

Rule of thirds: divide the frame into a 3×3 grid; place key subjects and horizon lines on the lines or intersections for balanced, dynamic composition.

Perspective basics: one-point for corridors and roads facing the camera, two-point for building corners, three-point for extreme low or high views.

Horizon line = eye level of the camera; all vanishing points sit on it in one- and two-point perspective.

Figure proportion for adults: roughly 7.5-8 heads tall; use head units to size characters consistently across panels and to scale characters against sets.

Value structure: keep characters darker or lighter than the background so silhouettes read; squint test reveals whether the subject separates from the background.

Staging in depth: foreground, midground and background layers give the frame depth; overlapping shapes create the sense of space.

Leading lines, framing devices (doorways, windows) and negative space direct the viewer's eye to the subject of the panel.

Draw loose thumbnails at small size first; a 2-3 inch thumbnail exposes composition errors faster than a detailed large drawing.

Shot sizes: Extreme Wide (EWS), Wide (WS), Full (FS), Medium (MS), Medium Close-Up (MCU), Close-Up (CU), Extreme Close-Up (ECU); each has a distinct emotional function.

Camera angles: eye-level (neutral), low angle (power, threat), high angle (vulnerability), bird's-eye (geography, fate), Dutch/canted (unease, imbalance).

Lens effects: wide-angle (short focal length, deep space, distortion at edges), normal (≈50mm on full frame), telephoto (compressed space, shallow depth of field, flattering faces).

Depth of field increases with smaller aperture (higher f-number) and shorter focal length; decreases with larger aperture and closer subject distance.

Camera moves: pan (horizontal pivot), tilt (vertical pivot), dolly/track (camera moves through space), zoom (focal length change), crane/jib (vertical sweep), handheld (energy, realism).

Dolly zoom (Vertigo effect) changes focal length while moving the camera to hold subject size, distorting the background for psychological effect.

Perspective choice sells scale: a low-angle wide shot makes a character loom; a high-angle telephoto makes them small and isolated.

Match lens to intent: use wide for establishing geography, telephoto for intimacy and isolation, and keep the lens consistent within a matched shot pair.

Standard board grid: 2, 3 or 4 panels per row; leave a header for scene/shot numbers and a footer for notes, dialogue and timing.

Panel numbering convention: scene number + shot letter (e.g., 12A, 12B) so boards map directly to the shot list and edit.

Arrow vocabulary: solid arrow = camera or subject movement; dashed arrow = optional/alternative; curved arrow = pan/tilt/arc; cross = no movement or hold.

Annotation fields per panel: shot size, angle, movement, lens, action description, dialogue/V.O., SFX, and duration in seconds.

Frame borders are drawn to the delivery aspect ratio; safe area is inset about 10% for action and 20% for titles and graphics.

Continuity notes and revision clouds mark changes; colour-code panels by sequence or by department (VFX, stunt, props) when a board is shared widely.

Keep the drawing inside the frame; bleed only when the shot intentionally extends beyond the frame edge.

An animatic is the board cut to timing and temp sound; board timing notes (e.g., 2.0s hold) feed directly into the animatic edit.

Common tools: Storyboard Pro (Toon Boom), Photoshop, Krita, Clip Studio Paint, Procreate, Blender Grease Pencil, plus collaborative web tools for review and annotation.

Storyboard Pro exports animatics with camera moves, timing and audio; layer-based panels keep revisions non-destructive.

Vector vs raster: vector lines scale without pixelation (good for cleanups and print), raster suits painterly sketches and texture.

Set up a template with frame guides, safe area, title block and panel grid before drawing; templates enforce consistent layout across a project.

Layer structure convention: background, midground, characters, foreground, annotations, frame border. Lock the frame border layer to avoid accidental edits.

File naming and versioning: project_scene_shot_version (e.g., FILM_S12_012A_v03); cloud sync and daily backups prevent loss of revision history.

Export formats: PDF for client review, PNG/JPG for panels, MP4/MOV for animatics; check resolution (at least 1920×1080 for HD delivery).

Use drawing tablets with pressure sensitivity for line weight variation; keyboard shortcuts and custom brushes speed up repetitive panel work.

Silhouette test: a character must be recognisable as a solid black shape; distinctive outline, proportion or prop separates them from the cast.

Shape language: round shapes read friendly, square shapes read sturdy or threatening, triangular shapes read sharp or villainous.

Model sheet contents: front, 3/4, side and back views, plus expression sheet, hand/prop details and colour callouts; keeps the character consistent across panels.

Proportion consistency: define head units and key landmarks (eye line, shoulder, waist, knee) so the same character is the same height in every panel.

Colour and value coding: assign each character a dominant hue and value so they remain distinguishable in wide shots and in black-and-white boards.

Costume and props communicate role, era and status; keep accessories (glasses, scarves, weapons) consistent as continuity anchors.

Expression range should cover at least neutral, joy, anger, fear, sadness and surprise for the main cast; boards often need reaction close-ups.

Pose and gesture carry personality; use line of action (a single curve through the body) to keep poses dynamic and readable.

Screen direction: if a character exits frame right, they should enter the next shot from frame left unless a deliberate reversal is shown.

Eyeline match: the direction a character looks in one shot must match the angle of the reverse shot; misaligned eyelines break the scene's geography.

180-degree line (action line) is drawn between two characters or along a moving subject; crossing it reverses screen direction and confuses the viewer.

Continuity checklist per shot: costume, props, hair, lighting direction, time of day, weather, injuries and set dressing.

Staging in depth: place actors on different planes (foreground, midground, background) so the frame has depth and the blocking reads clearly.

Match cuts and cutaways hide continuity gaps; inserts (hands, clocks, phones) are cheap insurance for the edit.

Stage the scene so the camera can cover it from one side; blocking that forces the camera to cross the line creates continuity errors.

Note transitions: cut, dissolve, fade, wipe; the board should mark transitions between panels where they matter to the story.

Pre-production order: script lock → breakdown → budget and schedule → shot list → storyboard → animatic → production.

Script breakdown tags elements per scene: cast, extras, props, wardrobe, vehicles, animals, VFX, stunts, locations, special equipment.

Storyboard review cycle: rough thumbnails → director notes → cleaned boards → department review (art, VFX, stunts) → locked boards for shoot.

Deliverables to the crew: printed boards on set, PDF for review, animatic for editorial, and shot list cross-referenced to panel numbers.

Collaboration tools: shared drives, review platforms with annotation and version history, and daily stand-ups with the director and DP.

Revision tracking is essential: label each round (v01, v02) and log director notes so changes are traceable and approved.

Communication rule: ask about intent (what the scene must achieve) before arguing about drawing style; the board serves the production, not the portfolio.

Schedule boards against shoot dates: hero shots and complex sequences need boards first; simple coverage can be boarded later.

Ergonomics: monitor at eye level, wrists neutral, feet flat, chair at desk height; take a 5-minute break every 45-60 minutes of drawing.

Repetitive strain injury (RSI) prevention: vary grip, stretch hands and forearms, use a pressure-sensitive stylus with light pressure, and warm up before long sessions.

Eye strain: follow the 20-20-20 rule (every 20 minutes, look 20 feet away for 20 seconds); reduce glare and match screen brightness to the room.

Back and neck care: use a lumbar-support chair, avoid hunching over tablets, and alternate sitting and standing where possible.

Ethics: respect copyright and NDAs; do not leak unreleased scripts, boards or designs, and credit collaborators accurately.

Do not trace or copy another artist's work and present it as original; reference is for study, not for delivery.

On-set safety: storyboard artists visiting a set must follow the AD's instructions, wear PPE where required, and never cross a hot set or stunt area.

Data security: password-protect devices, encrypt client files, and back up work; losing a client's unreleased material is a professional breach.

Career paths: staff storyboard artist, freelance storyboard artist, animation board artist, commercial/agency board artist, previz artist, comic and graphic-novel artist.

Freelance basics: quote per panel, per day or per project; include revision rounds in the quote and state the number of free revisions.

Portfolio should show sequence boards (5-10 panels telling a scene), not only single illustrations; directors hire for storytelling, not rendering.

Client acquisition: animation studios, ad agencies, production houses, game studios, OTT platforms and e-learning companies.

Business essentials: GST registration where applicable, invoices, contracts with scope and payment terms, and separate business and personal accounts.

Pricing factors: complexity (action, VFX), deadline, revision count, usage rights and whether animatic or previz is included.

Marketing: a website or portfolio link, social media process posts, showreel/animatic clips, and networking at film and animation festivals.

Upskill routes: NSQF/ITI/polytechnic media courses, online storyboarding courses, and internships with studios; specialising in action, comedy or previz raises rates.