Linear or even schematic drawings in which the action that we want to represent is well explained and captured is enough. For example, we can see two stories of two great cinematographic productions in which the stories, comparing them with those of other productions, do not have a great pictorial level, however, in them it is perfectly understood what is intended to be done. One of them is the storyboard of gone with the wind story board gone with the wind as we can see, this story is not characterized by a large number of details, neither realistic nor specially elaborated drawings, however,
in this case, the author uses the orange color as a resource to make clear what is happening at that moment , as well like the aesthetics of that part of the action. Taxi driver by martin scorsese another example, much clearer that it is not necessary to be a raster to vector conversion perfect cartoonist to make a storyboard, is that of the film taxi driver by martin scorsese, and the same author of the story. Story board as we see this story, we could say that it is more precarious in terms of pictorial technique than the previous one, since they are drawings, we could think, almost childish, don't you think? However, this is a clear example of the level at which the director is involved with his work,
since he is the same one who carries out the drawings, since according to scorsese, the storyboards express what he wants to communicate , and what better way than do it yourself. So, even if we are not good at drawing, it is very important to carry out our story. Well, it is important for the realization of our audiovisual production and it will help us to solve possible shooting and production problems, so that it will be possible to solve them even before they happen, since a story is not for the one who produces it or for the director of the production only, but it helps the entire team that is involved in the development of said production.