Punjab PSEB Matric NSQF Media and Entertainment (Storyboard Artist) key terms

A sequence of drawn panels that plans each shot of a film or animation before production, showing framing, action, camera movement and timing so the whole team shares one visual plan.

The planning stage before shooting or animation begins, where script, design, storyboards, schedules and budgets are finalised so that production runs smoothly and cheaply.

The ordered arrangement of events in a story, usually built from setup, rising conflict, climax and resolution, which gives the audience a clear sense of cause, progress and payoff.

A storytelling pattern dividing a script into setup, confrontation and resolution, with turning points between them; storyboard artists use it to judge which moments deserve emphasis or a dramatic shot.

The smallest unit of dramatic action in a scene, a single change or decision; each beat usually needs its own panel so the audience can follow who wants what and what shifts.

A one or two sentence summary naming the protagonist, the goal and the central obstacle, used to keep every department, including the storyboard team, aligned on the story's core.

The peak moment of tension where the main conflict is settled; boards around it usually use stronger angles, tighter framing and bigger action to make the payoff read clearly.

The process of reading a screenplay and listing every element it requires, such as characters, props, locations, effects and stunts, so nothing needed for a scene is missed.

The standard line at the start of a screenplay scene stating interior or exterior, location and time of day, which tells the storyboard artist the light, space and setting to draw.

Another name for the scene heading; it marks each new scene in the script and helps the board team number, order and track panels scene by scene during production.

A short bracketed note in a screenplay describing how a line is delivered or a small action within dialogue, which hints at the expression and body language to draw.

Dividing a scene into individual shots, deciding for each one the framing, angle, subject action and camera move, so the edit and the shoot are planned in advance.

A continuous run of camera recording with no cut; in boards each panel usually represents one shot or a key moment within a long moving shot.

The instant one shot ends and the next begins; storyboard artists plan cuts so that screen direction, eyelines and action match smoothly across the join.

A single drawn frame on a storyboard page showing one shot or story moment, normally with a frame number, action sketch and notes on camera and sound.

A small, quick rough sketch used to explore many framing and staging options cheaply before committing to larger, more detailed storyboard panels.

A composition guide dividing the frame into a three-by-three grid, with important elements placed near the grid lines or intersections to create balanced, dynamic images.

The arrangement of subjects, shapes, light and empty space inside the frame, chosen to guide the viewer's eye and support the mood and meaning of the shot.

Lines within a scene, such as roads, walls or corridors, that draw the viewer's eye towards the subject or into depth, strengthening the focus of a composition.

The drawing method that makes flat images appear three-dimensional by converging parallel lines towards vanishing points and scaling objects smaller as they recede.

The spot on the horizon where receding parallel lines appear to meet; placing it deliberately controls depth and the apparent height of the camera in a drawn frame.

The level in a drawing matching the viewer's eye height; it sets the vanishing points and decides whether a shot looks high, level or low to the audience.

The optical property of a lens measured in millimetres that sets how wide or narrow the view is; short lenses show wide space, long lenses compress and isolate subjects.

A shot made with a short lens that captures a broad field of view, exaggerates depth and can distort edges; useful for establishing space or making a subject feel small.

A shot made with a long lens that narrows the field of view, flattens depth and enlarges distant subjects, often used to isolate a character or build pressure.

A wide shot opening a scene that shows the location, time and spatial relationship of characters, giving the audience orientation before closer shots take over.

A shot filmed from below the subject's eye level, making the subject look powerful, threatening or heroic because the viewer looks up at them.

A shot filmed from above the subject, making them appear smaller, weaker or vulnerable and revealing the surrounding space and floor plan.

A shot with the camera at the subject's eye height, giving a neutral, natural view that invites the audience to identify with the character rather than judge them.

An extreme overhead shot looking straight down, showing layout and movement like a map; it can make characters seem tiny or fate-controlled.

A shot framing a subject's face or a single detail so it fills the screen, used to show emotion or stress an important object at a key story moment.

A drawn mark on a storyboard panel showing the direction of a character's movement, a camera pan, tilt, zoom or truck, so motion is clear in a still image.

Written notes added beside a panel describing camera movement, lens, action timing, dialogue, sound effects or transitions, so the drawing is read correctly by the crew.

A planned motion of the camera such as pan, tilt, dolly, truck or crane; in boards it is shown with arrows and notes rather than drawn as separate frames.

A timed video made from storyboard panels with temporary sound and dialogue, used to test pacing, shot length and story clarity before animation or filming starts.

A reference drawing showing a character from several angles with expressions and key details, keeping their look consistent across every panel and every artist on the team.

A standard reference document with proportions, costume details and construction lines for a character or prop, used so all artists draw the same design identically.

A set of drawings of a character from front, side and back, sometimes three-quarter views, proving the design works in three dimensions before it is boarded or modelled.

The solid outline shape of a character or object; a strong readable silhouette lets the audience identify who is doing what even in a small, rough storyboard panel.

A reference page showing one character's face in a range of emotions, helping the storyboard artist choose believable reactions that stay on model.

Keeping details consistent from shot to shot, including costume, props, light direction, screen direction and time of day, so the edited sequence feels seamless and believable.

The direction a subject faces or moves within the frame; keeping it consistent across cuts prevents the audience from thinking the character suddenly reversed or jumped location.

A staging rule that keeps the camera on one side of an imaginary line between two subjects, so their left-right positions stay stable and the audience is not confused.

A cut that follows a character's gaze to show what they are looking at, with the angle and direction of the look matching the next shot's viewpoint.

A cut joining two shots through a shared visual or action element, such as a similar shape or continuing movement, creating a smooth or meaningful link.

Placing characters and objects in the set and choosing their poses so the action reads clearly from the camera's viewpoint, with no confusing overlaps or hidden business.

The empty space between a subject's head and the top edge of the frame; too much looks distant, too little feels cramped, so it is set deliberately in each panel.

Creating boards with drawing software or tablets instead of paper, allowing layers, undo, reusable assets, quick revisions and easy sharing with the production team.

A separate transparent level in digital drawing software holding part of the image, such as background, character or notes, so each element can be edited without redrawing the rest.

Practices that protect workers from harm, including correct posture at drawing desks, screen breaks to prevent eye strain and safe use of cutting tools and electrical equipment.

Pain or damage in muscles, tendons and nerves caused by long repeated drawing or mouse movements; prevented by breaks, stretching and varied posture during long board sessions.

Arranging the chair, desk, tablet and monitor so the body sits in a neutral, supported position, reducing back, neck and wrist strain during long hours of drawing.

Legal protection giving the creator of an artwork or script control over copying and use; storyboard artists must not reproduce others' work or share confidential production material.

A contract in which a crew member promises to keep production information secret; storyboard artists often sign one before receiving scripts or unreleased designs.

Honest, respectful conduct at work, including meeting deadlines, crediting collaborators, refusing plagiarism, protecting client confidentiality and giving and receiving feedback fairly.

Working for yourself on short-term contracts for different clients, common in storyboarding; it requires quoting rates, invoicing, managing time and building a reliable client network.

A curated collection of your best storyboard work showing range in genre, format and clarity, used to win commissions, jobs or admission to further training.

A short persuasive presentation of an idea or your services to a client or producer, usually supported by sample boards, a clear logline and an estimate of time and cost.

A short prose document describing a film's story, characters, visual style and mood, read by the board team to choose tone, colour and camera approach before panels are drawn.

A loose, fast drawing used to test ideas and composition before clean-up; roughs are cheap to change and are normally approved before detailed boards are produced.