1. STORYBOARD [STORY WORK]

2. The Original Universality Studies
Paul Ekman, Wallace Friesen, and Carroll Izard conducted several universality studies which provided the first methodologically sound evidence for Darwin’s arguments on emotion.
Universality Studies: Four studies that found evidence for universality of emotional expressions
Study 1
Judgments of facial expressions by literate cultures
Study 2
Judgments of facial expressions by preliterate cultures
Study 3
Judgments of facial expressions posed by members of
preliterate cultures
Study 4
Spontaneous facial expressions of emotion

3. The Original Universality Studies
Study 1: Judgments of facial expressions by literate cultures (Ekman, Friesen, & Tomkins, 1969)
Observers from US, Argentina, Brazil, Chile, and Japan labeled expressions in photographs.
Results: Found high agreement for anger, disgust, fear, happiness, sadness, and surprise
Problem: All countries were literate and industrialized; problem of shared visual input

4. The Original Universality Studies
Study 2: Judgments of facial expressions by preliterate cultures (Ekman, Sorenson, & Friesen, 1969)
Observers from New Guinea were asked to select a story that best describes expressions in photographs.
Results: Found high agreement for anger, disgust, fear, happiness, sadness, and surprise

5. The Original Universality Studies
Study 3: Judgments of facial expressions posed by members of preliterate cultures (Ekman, Sorenson, & Friesen, 1969)
Americans were asked to label expressions in photographs of New Guineans.
Results: Found high agreement for anger, disgust, fear, happiness, sadness, and surprise

6. The Original Universality Studies
Study 4: Spontaneous facial expressions of emotion (Ekman, 1972; Friesen, 1972)
American and Japanese students’ facial expressions were recorded while they were watching stressful film.
Results: Americans and Japanese showed same facial expressions at same points in time

7. The Original Universality Studies
These studies provided initial support for universality of anger, disgust, fear, happiness, sadness, and surprise.

8. Universality in Emotion Antecedents
Emotion antecedents: events or situations that trigger an emotion
Many studies support the universality of emotion antecedents (e.g., Scherer, 1997).
Same types of antecedents trigger the same emotions across cultures.
And there is similarity in relative frequency with which each antecedents elicit emotions.

9. Universality in Emotion Appraisal Processes
Emotion Appraisal: Process by which people evaluate events, situations that trigger expressions of emotions.
There is a high degree of cross-cultural similarity in how emotion is processed.
Basic emotions are appraised in the same way across cultures.

10. Universality in Emotion Appraisal Processes
Universal underlying psychological theme
Happiness
Accomplishing a goal
Anger
Being prevented from accomplishing a goal
Sadness
Being kept from something you desire or want
Disgust
Being sickened or repulsed by something
Fear
Sensing danger caused by unexpected, novel events and being helpless to do something about it
Surprise
Acknowledging something new or novel
Contempt
Feeling morally superior over someone else
Shame/Guilt
Feeling high responsibility for one’s own behaviors, which conflict with one’s own standards
Table 8.1 Underlying Psychological Themes that Elicit Emotions

11. Summary
Emotions are universal psychological phenomenon that is based in evolution
Universality in emotion appraisal, expression, physiology, and recognition of emotions in others
These universal processes allow humans to adapt, respond, and cope with problems in social lives

12. SURPRISE
FEAR
DISGUST
CONTEMPT
ANGER
HAPPY
SAD

13. Required Elements FOCUS: Paul Eckman’s 6 Universal Emotions
Mr. Sarver & Mr. Pustay “Trip to Nowhere”
Attention – Grabber
9 Slides/3 frames per row/3 columns
Must include the SIX MANDATORY CAMERA SHOTS
Must include short narrative below each frame of the shot tying emotion to scene in frame

17. Overall Tips for Success
1. Make sure your storyboard progression is logical and coherent.
2. Using an attention-grabber at the beginning of your story can set the tone and get your audience interested. An attention-grabber can be:
a question
a scenario
an interesting image
a game
a finished example (as in a lesson)
3. When creating a storyboard, the visual parts of the frames should be kept simple and the image in each frame should be one that best describes the action taking place, or concept being explained.

18. Figure out when and how you will assess your learning audience
You DO NOT need to be an ARTIST.
However, as you look below at the simplified drawings, the quality is still there indicating time, effort and value.

20. Establish a Timeline
Establishing the parameters for when and where your story takes place, and deciding in which order the events of the story happen chronologically, is the best way to organize your story so you can begin bringing it to life.
If your story isn't completely linear (e.g. there are flashbacks, flash forwards, shifting perspectives, alternate outcomes, multiple timelines, time travel, and so on), you can still create a narrative timeline.
Make a list of the main events of the story in the order they will be told. This is how they will appear on screen.
If you’re storyboarding for a commercial, establish what scenes will occur and in what order.

22. Identify the Key Scenes in Your Story
A storyboard is meant to give its viewer the gist of how the story will translate to film.
The point isn't to try to recreate the entire experience in a flip book, but to demonstrate important key parts that will draw the viewer in.
Think your story through and brainstorm a list of the key moments that you want to illustrate on your storyboard.
Pick scenes that show the plot developing from start to finish.
Turning points are important to show. Any time there’s a plot twist or an important change, include it in the storyboard to move the story along.
You may also want to depict changes in setting. If the story begins in one city and moves to another, make sure that will be clear in your illustrations.

24. Decide How Detailed to Get
A storyboard can be incredibly detailed, with illustrations depicting every shot.
If you’re in the preliminary stages of a feature-length film, you have too much ground to cover to get this detailed just now.
However, you might eventually want to break the film down into individual scenes, with a separate storyboard for each one.
This allows you to create a very detailed representation of the progression of individual scenes and is helpful when it comes to staying organized during film-making
Remember that the point of the storyboard is to provide visual clarity and keep everyone on the same page. It’s not supposed to be a work of art in and of itself. Take a practical view when it comes to the level of detail you choose for your storyboard. You don’t want your viewer to get lost in trying to interpret your illustrations instead of seeing the bigger picture.

26. Write a Narrative of What Each Cell Will Show
Now that you know what main scenes you want to show, think about how to depict the action in each illustration.
Go down your list of scenes and write a description of the most important elements of each one.
This will help you determine what exactly to draw for your storyboard.
For example, you might want to have a cell that depicts a conversation between two main characters. What needs to be conveyed in this image? Are the characters fighting, smiling, or moving toward a destination? Some sort of action should take place in each drawing.

27. STORYBOARD [STORY DESIGN]

29. Decide What Medium to Use for Your Template
You can draw a basic storyboard template by hand, simply dividing a poster board into empty frames of the same size using a pencil and a straightedge.
The setup should look similar to that of a comic book, with rows of square cells that show how the scene will look on a screen.
If you prefer, you can use Adobe Illustrator, storyboardthat.com, Microsoft PowerPoint, Amazon's Storyteller, or inDesign to create a storyboard template in vertical or horizontal format.

31. Sketch Your Thumbnails
Start bringing the scenes to life by drawing the sketches you mapped out into the template you designed. This is just your rough draft, so don’t try to make it perfect. As you sketch each scene, tinker with the following elements, erasing and redrawing as often as necessary:
Composition (lighting, foreground/background, color palette, etc.)
Angle from which the camera is shooting (high or low)
The type of shot (wide shots, close-ups, over-the-shoulder shots, tracking shots, etc.)
Props (objects in the frame)
Actors (people, animals, cartoon talking couch, etc.: anything that can act rather than be acted upon)
Special effects

32. Choose Your Camera Shots
Different views and arrangements of objects and characters present depth, balance, and focus in a storyboard.
These views, or shots, vary depending on the action and purpose of a cell. Here is a helpful guide to different camera shots that can be achieved in Storyboarding.

33. Mandatory Camera Shots
Special Shots These can be tilted shots, low or high angle shots

36. Add Other Important Information
Next to or below each cell, fill in your description of what’s happening in the scene. Include dialogue that will take place.
Add information about the length of time the shot will take.
Finally, number the cells so they’re easy to reference when you discuss your storyboard with others.

38. Finalize the Storyboard
Once you have identified the key points of the subject and worked out a design for each frame, review your work and make final changes.
Be sure that each cell portrays the action you want it to portray.
Tweak the descriptions and dialogue if necessary.
It’s a good idea to have someone else review the storyboard to make sure it flows well and isn’t confusing.