How would you describe your job?

I am a storyboard artist / animatic artist.  That means it’s my job to turn the director’s interpretation of the script into either drawings that others can understand, like a comic book, or computer-generated video that can be watched, like a movie, so that everyone knows what the director wants on the day of shooting.

How significant is technology in the production of your artwork?

Technology is very important, especially in the creation of animatic videos. I use LightWave 3d, After Effects, sound editing software, among others to create animatics.  But even “traditionally drawn” storyboards are scanned and manipulated in Photoshop, and frequently now delivered via the internet though FTP, web site or email.

What is your current work environment like?

I’m currently working at Sony Pictures in Culver City, California in an office just across from the directors office.  The last job I finished was done at my home studio.  The work can be done either way.  Usually the director decides how he or she wants to proceed.

Why freelance? How does a freelance storyboard artist differ from a storyboard artist working under a company like Pixar, Disney, etc.?

Although I’ve done animation work, I am primarily a “live-action” storyboard / animatic artist.  Animated feature films require much more time and therefore those storyboard artists are usually retained as full-time salaried employees.  This is the case with Pixar, Disney, etc.  As a live-action storyboard artist, I am usually on a job for a time measured in weeks, whereas they are on the job for a time measured in years.  Freelance is the way for those of us in live-action.

What is your personal insight or approach in handling the client-artist relationship? In my experience, something as simple as designing a team shirt can be challenging due to differing desires and expectations.

Luckily I only have to make one person happy: the director.  This vastly simplifies the problem of “differing desires and expectations”.  Occasionally others on the crew will attempt to use me to get their ideas to the director, but I have very little patience for politics; my allegiance is clear.  I work for the director and only the director.

Where do you stand in the art production department of a commercial, film, music video, etc.? What kind of relationship do you have with layout artists and visual art directors? What kind of relationship do you have with the director of the project?

The director is my boss and my supervisor. Storyboard artists are thrown in with the art department, both figuratively and physically (about half the time they put our desks/offices in the art department), and we are frequently hired by the production designer (the boss of the art department) but we answer to the director only.

How do you handle international clients and what type of challenges does that present? I see that you have worked with Kodansha in Japan. How is communication conducted? How much traveling do you have to do and how do you feel about that when it comes to personal life and obligations?

I worked for Kodansha when I was creating two graphic novels for publication in Japan about ten years ago. That was different than storyboarding. In that case we corresponded via fax and I had an agent who translated in both directions. It worked out well since the editors were awake in Japan when I was asleep in Los Angeles, and vice-versa. So I could send a fax at the end of the day and get a detailed response first thing in the morning.

Storyboarding occasionally requires travel.  A sizable amount of production is done in Canada or Australia. The storyboard artists who are single and without kids tend to jump on those jobs, whereas I would prefer to work locally so I can still read to my kids at night and walk them to school in the morning.  Sometimes there’s no choice, as when I was working on “Monkeybone” for Fox and had to fly to San Francisco every Monday and back every Friday for seven months. That was tough.  Mostly, since the work we do is PRE-production, we are not required to go on distant locations at the beginning of a film, but as it rolls into production and we are lucky enough to have been kept on, travel is at times necessary.

If applicable, do you have sufficient flexibility in your job so that you think it is possible to balance parenthood with your career?

Yes, it has to be done.  There’s no choice. Sometimes, as a freelancer, I’m unemployed for weeks on end.  These are simultaneously wonderful and frightening times: lot’s of time with the family to make up for time away, and nervousness about getting the next job.

What important changes are occurring in your field? How will these changes affect your career?

There is a digital revolution happening now. As directors see what is possible to “previsualize” with the computer and how much flexibility and power this avails, they want more.  Many people in my field now want nothing to do with computers or don’t know how to adapt their methods to their use.  There’s a lot of apprehension about this now.

Have you considered any other related career options? What type of person, in your opinion, will get the most out of your field?

A storyboard artist works closely with the director and facilitates directorial decisions in small or large ways.  Many storyboard artists go on to become second unit directors or actual film directors.  It takes a director’s eye and sensibility to do the job well.

Having too much attachment to the work, to drawing, to ego can be bad.  Everything changes, your best ideas can be thrown out on a whim. It’s important, for me anyway, to love the work and the process of working without becoming too attached to the end product or one’s own drawings.  We are to serve the director, it’s a service job.  If you get too full of your own importance you will go crazy and be very sad and bitter.  Keep a great attitude no matter what.

What suggestion can you give me for obtaining an entry-level position as storyboard artist? What ability and attitude would you look for when hiring a storyboard artist?

Here’s what I wrote to a teacher asking a similar question:

“To the would-be
storyboard artist: In an interview situation, keep your portfolio specific to storyboarding and, if possible, specific for the job at hand.  Only put your best stuff in there and keep it on topic.  If you’re up for an animated film, show animation boards, if you’re up for an action film, show action boards, etc. Color is unnecessary for 90% of what I and most film storyboard artists do, unless you find yourself working in advertising.  Know film terminology inside and out. A director won’t stop to explain what a high-angle tracking crane shot is. Know editing, know the psychology of camera angles, know the 180 line and why – or why not – to cross it, etc. In the beginning storyboard anything you can get your hands on for the experience.  Just about all work comes in via word-of-mouth, so work hard, impress people, keep a good attitude, exceed expectations, don’t whine about revisions, if you pull an all-nighter don’t mention it, smile through gritted teeth if need be, turn problems into solutions before anybody even realizes they’re problems.  Do this and, after the film is done and the crew disburses to other films, you will find you are remembered, called upon and hired again. Then repeat the process.  Everybody assumes artists are flakes, so prove them wrong and be the most professional person in the room. Never miss a deadline: excuses only console the person giving them. Draw clearly. Be clear.  Storyboarding is first, and foremost, a COMMUNICATION job. Listen well and deliver what is expected.”