The Awful Truth Behind Storyboard Advertising

Introduction

You’ve probably seen a storyboard at some point. Maybe it was in the planning stages of your favorite TV show, or maybe it was on set with a group of actors who were rehearsing their lines. In either case, you might not have realized what it’s for: Storyboards are a visual representation of how an ad should appear on screen. But if you think about it for more than 30 seconds (which I’m guessing most people don’t), then it becomes clear that this is an awful way to create TV commercials. Here are five reasons why storyboarding is terrible:

Storyboarding is a sketchy way to shoot an ad.

Storyboarding is a sketchy way to shoot an ad.

Storyboards are an essential part of the advertising process, and they can be invaluable tools for creative teams on set. Each shot in the storyboard is detailed down to what props will be used, which actors will appear in each scene and which camera angles will be used. However, storyboards aren’t always accurate representations of what ultimately ends up on screen.

Because they’re drawn by only one person (usually the art director), they don’t include any input from others who may have useful ideas about how a scene should look or feel. They also often don’t reflect creative changes that were made after the fact during post-production editing—so if you see something off about your favorite commercial’s appearance or tone when you watch it again later on TV or online, there’s a good chance it was changed during post-production editing rather than through modifications made during filming itself thanks to using storyboards instead of real scripts written out beforehand by writers who know what kind of emotions need evoking from viewers through dialogue alone without relying too much on visuals alone first!

Storyboards often aren’t good indicators of what viewers will see in the commercial.

Storyboards are not always accurate. It’s a fact that you have to accept if you’re going to be a storyboard artist. The problem is that many of the people who work on commercials do not know what they’re going to see in the finished product, so they often make assumptions based on their own preferences or interpretations of the brief.

Tv storyboard are often created by freelancers who don’t have any stake in whether or not a commercial succeeds—they’re simply paid to deliver images that fit a client’s vision. Because there’s no incentive for accuracy here, it’s easy for them to create something that looks good but doesn’t actually reflect how consumers will perceive whatever it is being advertised (and we’ll get into this later).

Storyboards leave little room for creative input from everyone else on set.

Storyboard artists are the only ones who get to contribute ideas, and even then it’s limited to what’s in their head. Everyone else on set is limited to their own area of expertise: the director has input over how a scene will be shot; actors give feedback on how they interpret their lines and move through space; prop designers help make sure that props are physically possible (or at least believable); costume designers dress actors according to character traits; cinematographers decide lighting schemes for different scenes.

But because storyboards are often the only way for all these creative forces to get a sense of what the final product will look like, they’re an important part of filmmaking. They allow everyone involved with a project—from writers and directors down through every crew member—to collaborate as one team rather than working independently on separate parts of something larger. And though storyboarding can sometimes limit creativity in ways not intended by its creators (like when key ideas get left out), it remains an essential tool for making movies work visually even when there isn’t enough time or money available elsewhere within production schedules…

You can convey more emotion with actual people than with a storyboard artist’s stick figures.

As a storyboard artist, you are responsible for conveying the client’s message. You’re also responsible for making sure that every shot is clear, easy to read and follow, and memorable. Unfortunately, this can be difficult when you don’t have enough time or resources available to create something truly unique.

When your goal is to communicate an idea visually—and visually only—you have few options. If you’re lucky enough to have some sort of budget at all, most of it will go toward paying your team members’ salaries (if they even exist), leaving only a small fraction left over for anything else like props or costumes or sets or locations… basically anything that would require any kind of effort or financial investment on behalf of the client.

So what do you do? You turn back toward what’s tried-and-true: stick figures! Stick figures work well because everyone knows how they work; everyone understands them instantly; everyone understands how they should be interpreted by other people looking at them too! Plus it turns out stick figures actually cost less than hiring professionals who might otherwise charge upward toward ten thousand dollars per hour if given half an opportunity!

Storyboards are expensive to draw and maintain for TV ads running for months or years at a time.

Storyboards are expensive to create, maintain and store. They’re also costly to replace when the creative direction shifts or changes.

They’re a pain to update or redo if there’s been a shift in the creative direction of the campaign—and this happens often in advertising because it’s so competitive.

Storyboards are even more expensive during production because they have to be printed on large paper sheets that come out of large printers (which means higher costs), they take up valuable studio space (as well as being heavy) and they’re not reusable at all—once a storyboard is used for one client, it can’t be reused by another client without undergoing significant revisions.

Storyboards are terrible ways to make TV commercials, so don’t do it!

Storyboards are a terrible way to make TV commercials. They’re time-consuming and expensive, they require talent that you may or may not have access to, they’re hard to change once they’ve been approved and produced, and they don’t allow for creativity.

In the best case scenario, creating storyboards will take a few days of your life that you’ll never get back—and if something goes wrong during production because there was no other way for you or your crew member(s) to communicate their ideas? Well, then those days are gone forever!

Not only do storyboards not work for communicating with actors and crew members, but the process itself is often fraught with problems: actors’ eyes tend to glaze over when faced with pages upon pages full of drawings; directors often find themselves frustrated because it’s difficult to convey their vision on paper rather than in person; finally (and most importantly) there’s simply no room left over within this medium where emotion can be conveyed through facial expressions or body language—the only way around this problem is by showing multiple panels side-by-side which quickly become clumsy at best (or impossible depending on how many different things are happening simultaneously).

Conclusion

That’s why we don’t like storyboards. They’re expensive, slow to make, and don’t give you much creative freedom. If you want a good idea of what your commercial will look like before it goes into production, then consider using storyboarding. But if you want something better—something more exciting and engaging—then let us help you instead! Scenesbydean.com work with commercial establishment for advertising.