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CLIL chart 4º ESO

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1968 Olympics Black power salute

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The Story Behind The White Guy In This Historic Photo

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Posters of Sport events which were used as polítical tool and propaganda.

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Proyecto Bilingüe 2021-22

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Invictus brings an epic story of how Nelson Mandela  joined forces with the captain of South Africa's rugby team, Francois Pienaar , to help unite their country after the Apartheid period.

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The Nazis used the Olimpic Games in Berlin 1936 to promote their ideology around the world.

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Handout from module Music and the Moving Image, 1.
Institute of Popular Music, University of Liverpool

Many writers have tried to systematise the functions of film music. One of the most useful and rigorous systematisations is that presented by Polish musicologist Zofia Lissa, in her Ästhetik der Filmmusik (1959: 115-256). There she lists and discusses twelve main functions which I have adapted and regrouped to make them more accessible. Of course, the functions of film music also apply to music on TV.

Most of these functions are NOT mutually exclusive

1. , e.g. upper class, middle class, lower class. Representation of location, i.e. using music to allow the audience to associate to a particular cultural, physical, social or historical environment.
physical, ethnic , e.g. Japan, jungle, Amerindians, Paris, town, country, space, laboratory, underwater, posh hotel, seedy club.
historical , e.g. ancient, medieval, Baroque, fin-de-siècle, future.

2. , i.e. using music to comment upon the images by distancing. The most usual type of film-musical comment is counterpoint , i.e. contradicting the connotative sphere of the visual action, e.g. melifluous melody for atomic holocaust, horror music for love scene. Another type of comment is the presentation of music providing an emotional dimension to a series of events that has just finished, i.e. the opposite of function 9, below.

3. , i.e. 'something new starts now, folks'.. Snippets of music, often after a change of scene, that set the mood of the new scene and tail off, often on an unresolved chord demanding that the narrative (musical or otherwise) continue, thereby leaving the acoustic space open for dialogue or sound effects.Enhancement and demarcation of the film's formal structure .leitmotifs , serving to (re-)identify characters, moods, environments, etc., thereby helping to make the film emotionally more comprehensible and to glue the narrative together across heavy cuts.
links and bridges . Music bridges two scenes, often of quite disparate character, across a cut (or fade-out plus fade-in, etc.)
endings , i.e. 'that's the end of that bit, folks'.

Please note that most of the functions just listed are not mutually exclusive. For example, if we are shown a fictional fashion model gliding around her sumptuous New York penthouse apartment in a silk nightgown to the accompaniment of a smooth sounding bossa nova record she has just slipped into the CD player, we are hearing music as follows:

It acts as source music (function 4) because we saw her put on the record.

It underscores how we we, the audience, are supposed to feel about her (function 7): it tells us she is desirous of smoothness and luxury.

As we see her do her make-up in the mirror, the music tells us a bit about how the fictional character is supposed to be feeling herself (function 6) — smooth, sophisticated, cosseted, etc.

Since the music emphasises lazy slithering, sliding or caressing far more than energetic battering, clodhopping or headbanging, there is an element of function 2 a well.

The music also tells us that we are far more likely to be in a warm and cosseted North American urban penthouse, or possibly drinking cocktails under Martini parasols with the upper crust of Copacabana, than in a disused cotton mill in Rochdale or in the Gobi desert or halfway to Mars. Hence function 3 is also in operation.

Also, depending on what sort bossa nova is being played, the music might also be a comment (function 5) communicating that what we see is really a bit old-hat: she might be looking fine but there's something in her choice of music suggesting that she has quite a strange self-identity or attitude to fashion or that she might be quite a bit older than she tries to look.

Or perhaps the music is simultaneously acting as a symbol (function 8) for a suitor (not currently visible in the fiction) who might be Brazilian and quite a bit older than her.

Or perhaps the CD is a dramatic trick creating the illusion that we are listening to the same 'real' record in her flat that she is seen to hear, when in fact the music is the film composer's underscore which will decrease in diegetic value and turn totally psychological as more of her character and the plot around her unfolds ...

Diegesis, diegetic : all that belongs, 'by inference' to the narrated story, to the world supposed or proposed by the film's fiction. The terms can be exmplified as follows:

Two sequences projected consecutively can represent two scenes separated in the diegesis by long interval (several hours or years of diegetic time).

Two adjoining studio sets can represent locations supposedly hundreds of metres or thousands of kilometres apart in diegetic space.

Two or more actors (e.g. a child and an adult, or a star and a stuntman or double) to successively depict the same diegetic character.

In this way, diegetic music means music whose source is justified by the reality' of the film's visual narrative. It is far simple to call this source music (q.v.) Non-diegetic music is film music whose source is not contained within the film's visual narrative. Most underscore and title music is non-diegetic. Hitchcock once remarked how stupid it was to hear a symphony orchestra on a desert island (non-diegetic function of music). Herrmann wondered how the camera crew had got there.

By underscore is generally meant background or incidental music written to any pre-existent visual sequence. Underscores are recorded to picture. Title music and set pieces (see below) are rarely underscore. Most underscore is non-diegetic music.

Title music is a generic term denoting music conceived for a film's or TV programme's title sequences (or credits'), usually at the start (main' or opening title') and/or end of the film or programme (end title'). Opening titles have three main functions:

1. Reveille function : wake up! Something, as yet undefined, is about to start.

2. Preparatory function : Something of a particular type, set in a particular environment, including particular types of character and particular types of action and mood is about to start.

3. Mnemonic function : A particular, identifiable and recurrent (type of) production is about to start, e.g. another James Bond or a Beverly Hills Cop movie, another episode of Dallas, Kojak, Inspector Morse, Eastenders, Brookside, The X-Files or Neighbours.

The most common function of signature themes (radio and TV) is of course mnemonic, but no title music would work properly without consideration of the preparatory function. Feature films rely almost entirely on the preparatory function to get the musical message of their title sequences across.

In early sound film, opening titles (a.k.a. main titles') often showed the credits written on paper as though an invisible member of the audience was thumbing through a printed programme before the start of a theatre performance. The music for such sequences derives much from the classical-romantic overture to opera and other dramatic presentations. This overture' function of title music has to a large extent been maintained even though the filming of names written on paper has long since been abandoned (except when an old production' effect is considered desirable). Title sequences present the composer with the opportunity of writing music on music's own conditions since underscore demands strict adherence of music to visual narrative, while title music frequently determines the pace and type of visual cuts, at least within the obvious limits of duration assigned to the sequences and the general character of the complete visual production. Therefore visual titles are more likely to be cut in sync with the music whereas underscore is almost inevitably recorded to picture. Cutting titles to music is particularly common in TV productions.

Set pieces (not a generally accepted term but nevertheless quite useful) constitute that subset of source music (diegetic music) in which musical presentations are visible as performance on screen as part of the film's (or TV programme's) narrative, however convincing the piece's inclusion at that point in the narrative may or may not be. If the performance of the piece is the main focus of the narrative, as in most musicals, the visuals will usually be cut to music and in some instances even the action may be choreographed in time with the music. However, if the set piece is more of a backdrop to other activity, cutting points are less likely to be in sync with musical episodicity. Such source music may change from foreground to background interest in the film's narrative, even to the extent of the source music being faded out and replaced by non-diegetic underscore. For example, in an episode of the TV version of The Saint entitled The Brave Goose', source music (function 4) is provided as a set piece by a disc-jockey and dancers in a Saint Tropez disco. In the middle of an up-tempo number a murder is committed. The camera zooms in on the heroine (who alone realises what has happened) and immediately back to the dancers who are still bopping away in picture despite the fact that the source music has been replaced by non-diegetic music. This music underlines the emotions of horror the heroine is supposed to be feeling (function 7) and provides a basis for the audience's emotions (function 8). Since the dancers are still shown to be having a good time, the set piece interrupted by underscore also counterpoints horror (non-diegetic music only) against gaiety (silenced source music and continued dancing), this making the horror more poignant (function 5).

Pre-existent recordings of music, i.e. music not specifically composed or recorded for the visual production in question, have been frequently used in film and TV since the sixties. For example, Kubrick uses Vera Lynn's recording of We'll Meet Again (don't know where, don't know when) to counterpoint the holocaust of atom bomb explosions at the end of Dr Strangelove (function 4). He also uses Beethoven's ninth symphony in A Clockwork Orange (about juvenile delinqency), rearrangements of music by Händel in Barry Lydon and music by Richard Strauss, Johann Strauss and György Ligeti in 2001 -- A Space Odyssey. Pop and rock music has been often used since Easy Rider to underscore action and driving sequences in which dialogue is either sparse or absent. In most of these cases, although the music is never visually performed as source music (it is almost always non-diegetic), the music is foregrounded in the sense that kinetic, tactile, sonic and emotional states and processes take precedence over a narratively logical' sequence of visual events. Since pre-existent recordings are chosen to provide the main focus of the narrative in certain sequences, visuals tend to be cut to music.

In film music parlance a cue point is any point in time during a production for moving images at which either (i) musical events start/end in sync with the visuals or (ii) visual events start or end in sync with the music. For example, a horror underscore for a murder scene might start with the cut to that particular scene as a cue point (visual cue) or when certain words are spoken (verbal cue). There might be another cue point as the murderer appears (more horrific music) and another when the knife is plunged into the vicitm's chest (even more horrific music). The end cue point might be just after a cut to the subsequent scene. Conversely, visual editing can be based on musical cues such as downbeats, starts of phrases, particular timbres and accents, etc. or (if applicable) in sync with particular words in the lyrics. The process of determining where cue points should occur is known as spotting the film (or videotape or audio recording).

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P Tagg | Functions of Film Music (Zofia Lissa) plus miscellaneous terminology (teaching materials)

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Handout from module Music and the Moving Image, 1. Institute of Popular Music, University of Liverpool Many writers have tried to systematise the functions of film music. One of the most useful and rigorous systematisations is that presented by Polish musicologist Zofia Lissa, in her Ästhetik der Filmmusik (1959: 115-256).

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The planet is in crisis - from climate change to the pollution in our oceans and devastation of our forests. It's up to all of us to fix it. Take your first step with our environmental footprint calculator.

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Storyboard Comparison - Nightmare Before Christmas Behind the Scenes

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Climate crisis is the epic challenge of our lives.

But we're confident we can solve it. Clear eyed and connected, we see what's possible when everyone shows up. Leaders. Doers. Rulebreakers. With passion for humanity, climate justice and nature.

Getting to the future we want will take all of us to build a movement. Everyone moving with purpose towards plural, plentiful, outside the status-quo ... Solutions.

Learn More About What We Do

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The Solutions Project - Let's create the future we want.

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But we're confident we can solve it. Clear eyed and connected, we see what's possible when everyone shows up. Leaders. Doers. Rulebreakers. With passion for humanity, climate justice and nature. Getting to the future we want will take all of us to build a movement.

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First let's define storyboard

Alfred Hitchcock was notorious for his 'boards' - precisely crafting the movie in his head and on the page. He was so detailed, in fact, that actually shooting the film was boring.

All the interesting work had already been done.

Does this mean that you have to be as precise as Hitchcock? Absolutely not. Storyboarding is a tool that filmmakers bring into their process but everyone is different. In reality, defining "what is a storyboard" is actually up to the individual and what they make of it.

We'll begin with a quick storyboard definition before jumping into some storyboard examples and video interviews with filmmakers on their individual approaches for how to make a storyboard.

STORYBOARD DEFINITION

What is a storyboard?

A storyboard is a visual representation of a film sequence and breaks down the action into individual panels. It is a series of ordered drawings, with camera direction, dialogue, or other pertinent details. It sketches out how a video will unfold, shot by shot.

It's is similar to a trial-run for your finished film, video, or commercial, laid out in a comic book-like form.

What's a Storyboard?

Drawings, sketches, reference images or photographs to represent each frame.

A description of the shot - any relevant information on the action, dialogue, or composition.

Shot specs - shot size, lens length, two-shot, etc.

Arrows to indicate camera and/or character movement or how each shot connects to the next.

It's one thing to define storyboards - but what does a storyboard look like? From simple stick figures to detailed sketches, the quality or content of each panel is really a secondary concern as long as the board serves its purpose for the filmmakers.

We've imported selected boards for an original short film called The Pen into StudioBinder's storyboard software to give you a better idea of the common elements found in a board.

Storyboard Format and Layout

Traditional vs. thumbnail

Storyboards can contain as much information as you want. Again, this is a tool to help you with the pre-production process so don't feel completely tied to one storyboard format over another.

There are two basic versions of storyboard format: traditional and thumbnail. In short, the difference between these two layouts comes down to how much detail you include.

Traditional storyboards are what we see above - basic pencil sketches that include detailed information like arrows for camera movement, characters, props, etc.

There are also thumbnail style storyboards that don't have any writing. Keep in mind I use the term thumbnail in this article and was referring to the image, not this style board. Again, the more detail you put into it, the easier it will be to execute later.

They're not used as often as detailed ones. But then again, if it's just you, or a small team, writing might not be necessary.

Here's an example of a thumbnail board from a scene that needs no introduction - the shower scene from Hitchcock's

Storyboard Examples

How directors approach boards

It's easy to define "what is a storyboard" but to fully understand what they are how they work, let's look at some storyboard examples.

Hitchcock wasn't the only director to make storyboards part of his process. Many directors make a storyboard for every single scene while others only use them for more complicated sequences. There are some directors that forego the process entirely.

Here's a storyboard example from the Coen Bros. first feature film, Blood Simple. Their approach to storyboarding, like everything else they do, is completely unique to them.

In this video, we get to see their original storyboards overlaid with the finished frames as they discuss their thought process.

Initial boards and final images from Blood Simple

If you're familiar with Ridley Scott's career, you'll remember that he began as an artist working on commercials. Once he became a director, he was able to bring that artistic talent into making his own boards.

With films like Blade Runner and Alien, it should be clear that storyboarding helps him craft intricate and layered imagery.

In this video, Scott discusses his personal relationship with storyboards at length as we watch a side-by-side comparison for his film Hannibal.

Ridley Scott takes storyboarding very seriously

Most of the time, a storyboard is constructed to match what's already been written in the script but they can also become deeply tied to the actual storytelling process. The importance of a storyboard in animation cannot be overstated.

An animation storyboard and animatics are fundamental steps, not just to refine the specific animation and movements but to craft story beats and character behavior at the same time.

Here's Josie Trinidad, the head of the story team for Ralph Breaks the Internet, on how she brings story and character considerations into an animation storyboard.

How to refine character and story with a storyboard

Our last storyboard example takes this idea of storyboard/script hybrid to the extreme. For his return to the Mad Max universe, director George Miller was aiming for a near-silent action film.

This "graphic novel" approach was his initial guide to crafting the action, story and characters. Only then was an actual script crafted. This is obviously the reverse of how storyboards are made but based on how successfully the film captures intense and elaborate action, maybe he's on to something.

Mad Max: Fury Road, when a storyboard comes before the script

Now that we have fully answered the question of "what is a storyboard," you should be fully prepared to start making your own. Your next step is learning how to make a storyboard, where you can also download a free storyboard template.

Up Next

Official DGA storyboard examples

As we discussed above, every filmmaker approaches storyboarding differently. Some prefer black and white over color; some are satisfied with stick figures, while others turn each panel into a legitimate work of art. Let's continue our exploration of storyboards with dozens of more examples from some of Hollywood's biggest films like Jurassic Park, Alien, and Inception.

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Alfred Hitchcock was notorious for his 'boards' - precisely crafting the movie in his head and on the page. He was so detailed, in fact, that actually shooting the film was boring. All the interesting work had already been done. Does this mean that you have to be as precise as Hitchcock?

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In this guide, we will discuss everything you need to know about storyboards.

1. What is a storyboard?

2. Why you need a storyboard

3. How storyboarding can help your business

4. How to create a storyboard

5. Go-to storyboard checklist

6. Popular storyboarding methods

7. Helpful storyboarding tips

8. Popular storyboarding software

9. Create storyboards with Vyond

Let's dive in:
When you make a video for your business, be it an explainer video, marketing video, sales video, microlearning video, or any short online business video, planning is extremely important. And one of the most important stages of planning out your video is creating a storyboard.

What is a storyboard?

A storyboard is a graphic representation of how your video will unfold, shot by shot. It's made up of a number of squares with illustrations or pictures representing each shot, with notes about what's going on in the scene and what's being said in the script during that shot. Think of it as sort of a comic book version of your script.

A storyboard is your roadmap when you make a video. Like a script, your storyboard visually guides you throughout the production process. By planning your video, you know which shots you need to create and how to create them when filming begins. You can get others' feedback early on and make simple adjustments to your storyboard, rather than making major changes while filming.

To make a good storyboard, you don't need to be a visual artist (though you can be). A storyboard can be anything from comic book-like rough sketches to stick figures to computer-generated drawings. To help you plan your own video, we'll walk through the basics of creating storyboards, including:

The basic elements of every storyboard

A breakdown of two popular storyboarding methods

Understanding different ways to storyboard, you'll be set to visually plan your own video. Regardless of your budget or design experience, you'll be able to create a clear map that seamlessly guides you through production.
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Why do you need a storyboard

Creating a storyboard might just sound like an extra step in the process of making a video, but trust us, it's a step you won't want to ignore. Here are three reasons why you need a storyboard:

Best way to share your vision

A visual aid makes it much easier for you to share and explain your vision for your video with others.

We've all had experiences where we were trying to explain something and the other person just can't see our vision. The core of this issue is that most stakeholders don't have the experience of visualizing something off of a text deliverable, such as a script.

With a storyboard, you can show people exactly how your video is going to be mapped out and what it will look like. This makes it infinitely easier for other people to understand your idea.

Makes production much easier

When you storyboard a video you're setting up a plan for production, including all the shots you'll need, the order that they'll be laid out, and how the visuals will interact with the script.

The video storyboard is a starting point or suggested through line around which you can plan your coverage (all the angles you will shoot of a scene). This really comes in handy when you're making your video, as it ensures you won't forget any scenes and helps you piece together the video according to your vision.

Saves you time

While it may take you a little while to put your storyboard together, in the long run, it will save you time in revisions later. Not only will it help you explain your vision to your team, but it will also make the creation process go more smoothly.

How storyboarding can help your business

Storyboarding can also help you:

Get buy-in from stakeholders: While a script can help others conceptualize your video, the visual nature of a storyboard is often a more effective way to bring it to life in pre-production. Sharing your storyboard early on in the process will ensure collaborators and decision-makers understand your vision - and make them much less likely to put up a fight down the line.

Streamline production: Creating storyboards forces you to work out a lot of the details of your videos ahead of time - what shots you want, what order they'll go in, what props or tools you need, etc. Storyboarding might also help you realize if you're missing a key piece of logic or dialogue in your script, or whether your visuals tie together as cohesively as you thought. Identifying and working through these problems before you start creating your video will prevent wasted effort later on.

Save time: It's much easier and less time-consuming to make revisions to a storyboard than to a video.

How to create a storyboard

Ultimately, a storyboard is a series of images representing each frame of your video. How you put the storyboard together, and how much detail you add, is up to you - you can do it on paper, in a word processing program, or using specialized software.

Here's how to go about creating a storyboard for your video:

1) Create blank slides

The first step in creating a storyboard is to draw a series of squares on a piece of paper

Here's an example of a blank storyboard:
Download this free storyboard template: US Letter | A4
You can also find tons of printable storyboard templates on Google). And here are more template options to help organize your frames. Don't worry about your drawing skills - stick figures will suffice. Just make sure to leave room to jot down the accompanying text (whether it appears on the screen or is spoken by your characters or narrator) for each visual.

Creating a PowerPoint deck or simple word processing document on the computer is another easy option. Specialized software is also available if you're looking for a more comprehensive solution (check out a few options below).

Think of these squares as the video frame. In each square, a different shot or scene will take place. You can sketch the scenes by hand, create them on a computer, or even take photographs. Make sure to leave space to write notes and lines from the script beneath or next to each frame.

2) Add your script

Beneath each picture, write the lines from the script that will be spoken in that scene and jot down some notes about what is happening.

Your storyboard should read like a comic book, so readers (coworkers, clients, etc.) can get a sense of exactly what will happen in your video.

Read more about scripting for microlearning videos. These tips can also be applied to different types of videos.

3) Sketch your story

Next, you should sketch how each scene will look visually. Note that your storyboard doesn't have to be incredibly detailed - you don't have to draw in all of the props or even use color. (Hint: You don't have to be great at drawing either. Bad drawings are far better than no drawings at all.)

Just provide enough visual detail to give an impression of what is happening, which characters are in the scene, and what the general framing will look like. The script and notes will help fill in the rest of the details.

You can also make notes about camera angles and movement, transitions between shots, and other details that will come in handy during production and post-production.

Not everyone has the time or skill for such storyboards, but this level of detail is especially helpful for complex projects with a variety of stakeholders.

Whatever method you choose, be sure that your storyboard conveys what's happening in the frame, the setting, which characters are present, any essential props, and what text (if any) will appear on the screen and where. You can also include important notes about camera angles and movements, transitions between shots, and any other production or post-production details.

If you're creating an extensive training program with multiple microlearning videos, consider completing the scripts and storyboards for each unit before beginning production on your videos. This will ensure that all the major topics you want to hit are covered and that the videos fit together logically with minimal repetition.

As you storyboard, keep each video's objective top of mind, and don't be afraid to make revisions. This early stage of the process is the best time to tweak your visuals and script in order to create the most compelling and effective microlearning video possible.

Once your storyboard is approved, you're finally ready to create a video! Read on for tips for creating an animated microlearning video.

Go-to storyboard checklist

Whether they're drawn by an artist or diagrammed on a computer, all storyboards share the same information. They need to touch on the main actions, speech, and effects in every shot to clearly communicate how a video will appear.

Here are the key elements that every storyboard should include:

Shot images: Individual panels featuring 2D drawings to show what's happening-actions, characters-throughout a video

Shot number: The number indicating when a shot appears according to a video's shot list

Action: The primary activity happening in a shot

Dialogue (or narration: Any speech that is heard throughout a video

FX: Technical details that explain how the shot is created in production and post-production (e.g. aspect ratio, camera angles, camera movement, shot type, sound effects, special effects)

A full storyboard has all of the information necessary to imagine how your finished video will appear. Reviewing your images and notes for each shot, you and your team can brainstorm how your video should be adjusted and what resources you will need in production.

Popular storyboarding methods

When most people hear the word "storyboard," they think of a professional animator quickly sketching out a cartoon feature film.

As it turns out, a storyboard doesn't have to be a work of art-it doesn't even have to be hand-drawn. With video production software, there are options for all types of users-regardless of their industry, design experience, or budget-to create useful professional-grade storyboards.

Hand-drawn storyboards

The classic storyboarding process is drawing by hand. You sketch out a mock-up of what each shot will look like.

As mentioned, you don't need to be a great artist to create a storyboard-stick figures are enough. The principal goal is to convey the main action that is happening in the shot, so each frame doesn't need to be very detailed.

A longhand storyboard cuts costs, but it's not necessarily the most efficient option, as seen in these pros and cons:

If you hope to keep video costs low, a hand-drawn storyboard is probably the best method for you. Just keep in mind that you will need to devote at least a few hours, if not more, to complete the task, and you'll need to scan or make copies for everyone working on your video.

Helpful storyboarding tips

Here are some tips that can help you:

Show, don't tell. Use the storyboard as a litmus test to determine if your story is truly being visualized.

Be cinematic. Does your video do things that movies do? Do people, places, and things move or stand still? Does the camera move? Keep these factors in mind and bring them all together to create a cinematic video.

Make sure it's logical and coherent. You're creating a story, so the video should look visually consistent from beginning to end

Pick a theme. If you want to create a video infographic, add relevant charts and graphs. If you want to highlight a customer's pain point, show a character on screen and take them through a journey.

Include all relevant details. Break up your script into smaller chunks and make note of important information:

What is the setting or background for the scene?

Is there a character on the screen? If so, what action is the character performing?

What props are in the scene? This should fit in with the context of the background/setting you're using

Will any text appear on the screen? What is the size, color, and position of the text?

What message are you trying to deliver?

Popular storyboarding software

People with less time to hand-draw frames and/or larger budgets may opt to use specialized software. These programs are built with robust customization and automation features to help you quickly create your storyboards.

Here are a few options to consider for creating your storyboards:

STORYBOARDTHAT

Price: Free and premium plans starting at $9.99/month

Main features: Equipped with a large image library and a drag-and-drop interface. Characters and scenes are customizable.

STUDIOBINDER

MakeStoryboard

SHOTPRO

STORYBOARDER

VYOND

With any of these tools, there are a few pros and cons to consider.
While these tools are powerful, many organizations don't need these features to create their storyboards. Only companies with elaborate videos and full production teams need to create these hyper-detailed storyboards with specialized software.

Create storyboards with Vyond

Vyond allows people of all skill levels in all industries and job roles to create dynamic and powerful media. With features that go beyond moving text and images, you can build storyboards, character-driven stories, or compelling data visualizations that engage audiences and deliver results.

Start making your own videos and storyboards today. Sign up for a free 14-day trial and attend our weekly tour of Vyond Studio.
Start a Free Trial

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What Is A Storyboard & How Do You Create One? (With Video)

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Storyboards are fundamental when creating videos. Here are our favorite tools, tips, and tricks for creating a storyboard on your own.

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THE IMPORTANCE OF RENEWABLE ENERGY

are sources of Renewable energies clean, inexhaustible and increasingly competitive energy. They differ from fossil fuels principally in their diversity, abundance and potential for use anywhere on the planet, but above all in that they produce neither greenhouse gases - which cause climate change - nor polluting emissions. Their costs are also falling and at a sustainable rate, whereas the general cost trend for fossil fuels is in the opposite direction in spite of their present volatility.

Growth in clean energies is unstoppable, as reflected in statistics produced annually by the International Energy Agency (IEA): they represented nearly half of all new electricity generation capacity installed in 2014, when they constituted the second biggest source of electricity worldwide, behind coal.

According to the IEA, world electricity demand will have increased by 70% by 2040 - its share of final energy use rising from 18 to 24% during the same period - driven mainly by the emerging economies of India, China, Africa, the Middle East and South-East Asia.

DISCOVER WHAT RENEWABLE ENERGIES ARE IN 2 MINUTES

CLEAN ENERGY TO FIGHT CLIMATE CHANGE

is vital for combating Clean energy development climate change and limiting its most devastating effects. 2019 was the second warmest year on record. The Earth's temperature has risen by an average 0.85 °C since the end of the 19 th Century, states National Geographic in its special November 2015 issue on climate change.

Meanwhile, some 1.1 billion inhabitants (17% of the world population) do not have access to electricity. Equally, 2.7 billion people (38% of the population) use conventional biomass for cooking, heating and lighting in their homes - at serious risk to their health.

Renewable energies received important backing from the international community through the Paris Accord signed at the World Climate Summit held in the French capital in December 2015.

The agreement, which entered into force in 2016, establishes, for the first time in history, a binding global objective. Nearly 200 signatory countries pledged to reduce their emissions so that the average temperature of the planet at the end of the current century remains "well below" 2 °C, the limit above which climate change will have more catastrophic effects. The aim is to try to keep it to 1.5 °C.

TYPES OF RENEWABLE ENERGY

Renewable energies include:

Wind energy: the energy obtained from the wind

Solar energy: the energy obtained from the sun. The main technologies here are solar photovoltaic (using the light from the sun) and solar thermal (using the sun's heat)

Hydraulic or hydroelectric energy: energy obtained from rivers and other freshwater currents

Biomass and biogas: energy extracted from organic material

Geothermal energy: heat energy from inside the Earth

Tidal energy: energy obtained from the tides

Wave energy: energy obtained from ocean waves

Bioethanol: organic fuel suitable for vehicles and obtained from fermentation of vegetation

Biodiesel: organic fuel for vehicles, among other applications, obtained from vegetable oils

MAIN ADVANTAGES OF CLEAN ENERGIES

Against climate change

Renewables do not emit greenhouse gases in energy generation processes, making them the cleanest, most viable solution to prevent environmental degradation.

Reducing energy dependence

The indigenous nature of clean sources gives local economies an advantage and brings meaning to the term "energy independence". Dependence on fossil fuel imports results in subordination to the economic and political short-term goals of the supplier country, which can compromise the security of energy supply. Everywhere in the world there is a renewable resource - whether that be the wind, sun, water or organic material - available for producing energy sustainably.

Increasingly competitive

Nowadays renewables, specifically wind and photovoltaic, are cheaper than conventional energies in much of the world.

The main renewable technologies - such as wind and solar photovoltaic - are drastically reducing their costs, such that they are the most economically efficient way to generate electricity in a growing number of markets. Economies of scale and innovation are already resulting in renewable energies becoming at lightning speed the most sustainable solution, not only environmentally but also economically, for powering the world.

A favorable political horizon

Decisions adopted at COP21 and forwards - like the COP25 Chile-Madrid - have shone the spotlight firmly on renewable energies. The international community has understood its obligation to firm up the transition towards a low-carbon economy in order to guarantee a sustainable future for the planet. International consensus in favor of the "de-carbonization" of the economy constitutes a very favorable framework for the promotion of clean energy technologies.

ACCIONA, THE LARGEST COMPANY DEDICATED 100% TO RENEWABLE ENERGY

We guarantee access to clean energy

ACCIONA is leading the corporate fight to mitigate the effects of the climate emergency and accelerate change towards a decarbonised energy model. For the fifth consecutive year, it heads the Top 100 Green Utilities de Energy Intelligence as the world's largest 100% renewable energy corporation.

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