Assignment Prep Notes: 10-Image Storyboard Task

Assignment Preparation Notes: 10-Image Storyboard Task

  • Timeline and submission window

    • The assignment portal has opened today; you can submit from today.
    • Due date: 7extSeptember7 ext{ September}. Any submission after the due date will be considered late.
    • The instructor plans to discuss the assignment in depth, answer questions, and set guidelines.

  • Core questions and boundaries around image usage

    • Merging images is not allowed: you cannot count an image inside another image (e.g., a thought bubble image counting as the same image).
    • For visibility, scale and size matter because the audience must clearly see what is being conveyed.
    • A split frame (two images in one) is not allowed; it’s treated as one image at a time.
    • You can be creative and push the boundaries within the task’s boundaries; originality and engagement are encouraged.
    • Plausible consequence: egregious violations (e.g., 30 photos from a trip with a Taylor Swift song, and no narrative) will result in a fail. The emphasis is on storytelling and coherence, not on quantity.
    • It is very hard to achieve an HD (High Distinction); HDs are awarded to exceptional work and are rare (around ≈10 out of the cohort).

  • Grading and the “hack” to boost marks

    • There is a “hack”: complete all quizzes to earn an extra 1515 marks toward the unit total.
    • If the quizzes are completed perfectly (i.e., 100%100\% on all quizzes), you receive 1515 marks for the whole unit.
    • Context: The whole assignment is worth 3535 marks.
    • Grade mapping example:
    • If you achieve Distinctions on both the first and last assignments and get 100%100\% on the quizzes, you can achieve an HD for the subject.
    • If you achieve Credits on the first and last assignments and get 100%100\% on the quizzes, you achieve a Distinction on the subject.
    • Practically: do the quizzes. They are a key pathway to a strong overall mark because the two main tasks are creative and demand high effort.

  • Content categories and topics to explore

    • Common emotional/felt themes to narrate your images:
    • Fate, strong feeling, frustration, exasperation, anger, lust, disgust, anxiety, depression.
    • Themes that can structure the approach:
    • Freedom, oppression, colonialism, sexuality, queerness, feminism, capitalism.
    • Important note on approach:
    • You can explore themes in complex, high-level ways or in grounded, practical scenes; both are acceptable. The execution and meaning are what matter.
    • Example of a storytelling approach that has worked well: adapting Macbeth into 10 images to leverage the audience’s existing knowledge of the story; using known stories (e.g., Old vs. New Testament, Greek myths, etc.) to provide a shortcut to narrative focus while you develop imagery and execution.
    • Situations as starting points for scenes: first love, first kiss, a day at Woolworths, or more personal moments.
    • Process-focused examples: the relationship between process (e.g., making spaghetti or heritage-based recipes) and meaning; the same idea can be explored in many directions.

  • How to begin thinking about your idea

    • If you have an idea, write two sentences in a notebook:
    • Sentence 1: "This idea is ___, and it fits into ___."
    • Sentence 2: "I want the audience to feel ___ when they watch it."
    • If you don’t have an idea yet, examine the provided categories and pick one to start with.
    • You may end up with something different later, but starting here helps.

  • Pre-work questions to spark imagery

    • For your chosen idea, brainstorm in order:
    • Color association (what color do you associate with the idea? quick, not overly analyzed).
    • Visuals (what images would you see to unpack the idea?).
    • Sounds (what sounds or auditory cues come to mind?).
    • Allow free-form ideas; do not overjudge during brainstorming.

  • Storyboarding basics and the exercise focus

    • What is a storyboard?
    • A planning tool for outlining visuals with accompanying text/sounds.
    • In media and animation, storyboards help plan what will be seen and heard; they are used to align visuals with dialogue/sound.
    • Task: translate your rough pool of images into a sequence of 10 images that tell a story.
    • Important note on image usage in storyboard:
    • Each image should convey distinct information about the story. It’s common to reuse images, but you should carefully ensure each image adds new meaning; otherwise, the sequence will lose impact.
    • Quick exercise demo (conceptual): coordinate a simple scene where door opening acts as a key narrative beat; plan the images to convey motion and progression with minimal frames.
    • Practical tip: motion implies meaning
    • Example: an image of the observer looking at a scene can imply motion and context; use implied movement to reduce the need for extra frames showing the same action.
    • Before storyboarding, reflect on two core tasks:
    • Decide how you will source or create your images (see sourcing options below).
    • Ensure cohesion and consistency across images (especially if using AI-generated or sourced images).

  • Image sourcing and ethics

    • Three main approaches:
    • Create/generate your own images (drawing, shooting, collage, Photoshop, etc.).
    • Source images from Creative Commons-approved libraries (images with permissive reuse rights).
    • Use AI-generated content with proper credit and awareness of consistency (e.g., ensuring the same character appears consistently).
    • Important considerations:
    • If you source images you don’t own, you are effectively stealing unless the license permits use; and we want you to treat media ethically.
    • Creative Commons licenses often require attribution and may have additional constraints (e.g., no commercial use, no derivative works); ensure proper credit.
    • Consistency is crucial when using AI-generated content; faces and identities should remain coherent across frames.
    • If you use AI-generated images to tell a single-person story, you must ensure faces and features remain consistent; otherwise, it undermines storytelling.
    • Credits are required for all images; if you use AI tools, credit the tool or model used.
    • Open questions regarding licensing:
    • Creative Commons sounds: prefer CC-licensed or royalty-free sounds; avoid copyrighted music.
    • The markers may not strictly verify licenses due to time constraints; ethically you should choose compliant sources.
    • Example scenarios:
    • A Downton Abbey image used to tell a narrative could be clever satire, but satire in this short assignment is tricky; use caution as it may blur lines of copyright and originality.
    • The example of using 10 images from a single copyrighted source to tell an original or satirical story may still risk copyright concerns; aim for clear original context or properly licensed materials.
    • Practical guidance for visuals:
    • If you decide to use AI, ensure the resulting sequence tells a coherent, singular story with consistent visuals; avoid narratively jumbled outputs.

  • Soundscape and music guidelines

    • You are allowed to include short musical segments (e.g., 2 seconds2\text{ seconds} to 10 seconds10\text{ seconds})) between images; longer segments may trigger feedback if they exceed limits.
    • If you exceed the allowed duration, you may receive feedback or a prompt to adjust rather than a formal penalty unless there is egregious violation.
    • The score should be augmented with an overall sound atmosphere or ambient sound: do not rely solely on music for storytelling; ensure a soundscape is present to set mood and context.
    • If you include music, ensure it sits beneath the texture of the piece and that there is a broader atmospheric soundscape across the piece.
    • If you choose to use recognizable music (e.g., a well-known track), it is advisable to either minimize its presence or ensure it serves as a minor cue rather than the primary sound; still, be mindful of copyright concerns.

  • The “end of class” storyboard development workflow

    • For those without a clear idea, a one-on-one chat will happen; you’ll have time at the end to generate ideas.
    • The teacher will review drafts in the later class; however, due to a large number of students, not every draft may be marked.
    • The instructor may delegate marking to a more experienced marker if applicable due to workload; you are still entitled to feedback if a draft is submitted.

  • Practical session details and expectations

    • The instructor will demonstrate a quick storyboard exercise: identifying the minimum set of images needed to convey the story (e.g., door opening, an image of the room, participants looking bored, a blank table, etc.).
    • The exercise emphasizes using images to convey distinct information and avoiding repetitive imagery.
    • You will transition your initial kaleidoscope of images into a precise sequence of 10 images that narrate your story with accompanying sound/text cues.
    • The essential criteria:
    • Each image must advance the narrative.
    • Use implied movement and strategic composition to convey action without relying on multiple frames for the same action.
    • Plan your storyboard to clearly show the progression of the narrative through 10 frames.

  • Final notes for preparation

    • If you already have an idea, determine which category(s) it fits into (feelings, themes, story, situations, or process) and be prepared to explain the fit.
    • If you lack an idea, choose a category that resonates with you and start drafting the two-sentence prompts described above.
    • Be prepared to present and discuss your storyboard in class; there will be an opportunity to develop ideas collaboratively during the session.

  • Quick reminder on ethics and expectations

    • It is not about producing perfect images; it is about the effort, coherence, and how effectively the images convey the intended idea and emotion.
    • The teacher encourages experimentation but emphasizes respecting boundaries and crediting sources.
    • The scoring emphasizes creativity, storytelling, and technical cohesion; the best work often combines interesting ideas with strong execution and ethical sourcing.

  • What to bring to next class

    • A rough draft or storyboard sketches (even if scribbled). The instructor expects to discuss and critique drafts in the following session.
    • If you want feedback on a draft, bring it in; emailing drafts is not the preferred method for critique in this course.
    • Be prepared to discuss your two-sentence idea, the audience emotion, color and sound planning, and your chosen image sourcing approach.

  • End-of-lesson prompt

    • Ten minutes will be allocated for the class to start developing their storyboard; whether you’re a strong drawer or not, scribble and organize your ideas to begin forming your 10-frame sequence.