The history of the storyboard is as old as the history of storytelling in cinema. First examples of storyboard were found in the sketches of the fantastic films of Méliès at the beginning of the 1900s and since then it has evolved with audiovisual narratives such as animation and live-action films, and comic book genre. Therefore, the study focused primarily on the theoretical bases of the storyboard, and by comparing it with similar narrative systems, it is aimed to eliminate existing confusion. Storyboards are seen as a genre produced for audiovisual productions, just like the textual scenario, not for artistic expression or telling a unique story like similar Sequential arts. Since the storyboard is related to all the elements of filmic structure, the artist who visualizes the scenario reveals a work that concerns the entire film crew, and it is important to work with the director, producer and screenwriter. The storyboard, which is a pre-production work, makes it possible to imagine the finished version of the movie in the same way by the whole team. Therefore, a schematic language that expresses the filmic elements is needed in order to guide motion-based productions with the static drawings in the storyboards. However, since the storyboard language has a comprehensive and miscellaneous structure, this study has been narrowed to camera shooting scales, angles, and camera movements, which is an important and essential subject for live-action films. In the present study expressions and abridgements belonging to the storyboard language, which are still in the development stage, were examined, and a schematic representation form was proposed by making new additions to the missing parts.
Storyboard, Sequential Art, Cinematography, Camera movements