03920cam a22003858i 450000100090000000300040000900500170001300700030003000800410003301000170007402000280009102000290011902000250014803500130017303500180018604000320020404200080023605000270024408200330027110001260030424501270043025000190055726400400057630000580061633600730067433700710074733800690081850400510088750507800093852013440171865000970306265000670315977601950322688401130342124132101OSt20260126113652.0t|250331s2026    nyu      b    001 0 eng    a  2025012521  a9781032773735qhardback  a9781032753065qpaperback  z9781003482727qebook  a24132101  a(DLC)24132101  aDLCbengerdacDLCdDLC-MRC  apcc00aPN1995.9.P7bG448 202600a791.43/0232223/eng/202507091 aGlebas, Franciseauthor4aut4http://id.loc.gov/vocabulary/relators/aut0http://id.loc.gov/authorities/names/no200308105210aDirecting the story :bprofessional storytelling and storyboarding for animation, comic and live action /cFrancis Glebas.  aSecond edtion. 1aBoca Raton, FL :bCRC Press,c2026.  axiii, 408 pages :bcolor illustrations ;c28 x 22 cm.  atextbtxt2rdacontent0http://id.loc.gov/vocabulary/contentTypes/txt  aunmediatedbn2rdamedia0http://id.loc.gov/vocabulary/mediaTypes/n  avolumebnc2rdacarrier0http://id.loc.gov/vocabulary/carriers/nc  aIncludes bibliographical references and index.  aPart One -- 1. The Goal: Why Do We Watch? -- 2. Common Beginner Problems -- 3. The Beginning Basics -- 4. How to Draw for Storyboarding: Motion and Emotion -- Part Two -- 5. Structural Approach: Tactics to Reach the Goal -- 6. What Do Directors Direct? -- 7. How to Direct the Eyes -- 8. Directing the Eyes Deeper in Space and Time -- 9. How to Make Images Speak: The Hidden Power of Images -- 10. How to Convey and Suggest Meaning -- 11. Dramatic Irony -- 12. Which Doctor? -- 13. Volcano Chase -- 14. The BIG Picture: Story Structures -- 15. Aiming for the Heart -- 16. Summary: Recapitulation of All Concepts -- 17. Analysis and Evolution of the Scheherazade Project -- 18. Conclusion: Now We Must Say Good-bye -- Exercises to Develop Your Skills -- Bibliography -- Index.  a"This book grew out of desperate need. I was a storyboard artist at Disney and had no idea what I was doing. At Disney I was surrounded by amazing talents. I went into work early and typed up notes on what I was learning. This experience became Directing the Story. I went on to storyboard over a dozen features, several TV animated shows and directed Donald Duck in Fantasia 2000, Piglet's Big Movie and 2 seasons of Mira Royal Detective. This new addition includes storyboarding for 3D animation illustrated with storyboard examples. During my teaching storyboarding, I noticed many beginners struggle with drawing the figure. I've introduced drawing star figures. They're the equivalent to the flour sack animators use to learn to animate flow, force, timing and shape distortion. And once the student masters that, I show how the anatomy drops right into place. Out of my frustration of trying to write my own stories and watching the waste at the studio's race to get things into production I've struggled for years to discover the secrets of story. I'm currently working on a new theory of story which shows how all the parts of story, character, plot and story work together. I'm including the beginning basics of this theory which allows my students to come up with a story in 7 minutes. Plot takes longer"-- Provided by publisher. 0aMotion picturesxProduction and direction0http://id.loc.gov/authorities/subjects/sh85088104 0aStoryboards0http://id.loc.gov/authorities/subjects/sh930064331 iOnline version4http://id.loc.gov/entities/relationships/onlineversionaGlebas, FrancistDirecting the storybSecond edtiondBoca Raton, FL : CRC Press, 2025z9781003482727w(DLC) 2025012522  aDLC bibframe2marc v2.10-devg20250331qDLCuhttps://github.com/lcnetdev/bibframe2marc/releases/tag/v2.10-dev