In this video analysis of Bong Joon Ho’s Parasite storyboards, we learn how even Oscar-winning directors use detailed pre-visualization to plan camera movements, character blocking, and scene transitionsโwhile still leaving room for simplification and spontaneity on set. The key takeaway: storyboarding doesn’t need to be perfect or overly complex, but rather should clearly communicate the core elements of each shot to help alleviate creative anxiety and guide production. Tools like Shai, an AI-powered storyboard generator, can help filmmakers quickly visualize their scenes and bring their creative vision to life before production begins.
TRANSCRIPT BELOW:
These are Bong Joon Ho’s complete storyboards for Parasite.
They’re meticulous, and with few exceptions the film is a pretty direct translation of them.
One of the clear things we can see comparing the storyboards to the film, is that most of the differences are places where Bong ended up going with something simpler than his storyboards.
You can see this in the example I used earlier, where the storyboard indicates the peach be put into a bag while the camera tracks down.
In the film This is simplified by removing the camera pan.
One reason Bong might have made this change is if the action of blowing on the peach was discovered in the performance, by actress Park So Dam on set, and simplifying the shot better showcase that piece of performance.
Here’s another example of how Bong simplifies things.
In this scene Bong eliminates some dialogue, an entire shot, and simplifies these two shots into a single shot.
BUT, while he’ll make small changes, simplify things, or eliminate shots, he almost never adds something that isn’t in the storyboard.
If he does add or change something it’s usually fairly small details.
Like moving the arrow the housekeeper grabs from the wall to above the door or adding fairly simple shot stationary shot.
Bong is giving the actors room to shift some things in performance.
But he’s obviously not doing a lot of improvisational work on set in terms of coming up with camera movements or character blocking.
This is all established ahead of time.
Coming up with something complicated on the spot is a lot harder than simplifying a complex plan.
So don’t be afraid to make your scenes as complex as you want in the storyboards- you can always simplify on set.
While the camera movements and scenes you’re storyboarding might be complex, the storyboards themselves don’t need to be.
Focus on conveying the key elements of the scene as simply as possible.
Character and Camera movement are the first priority.
But you can also convey a key element of performance fairly simply.
Some lines, or a head turn can indicate surprise or amazement.
Some things might be too tricky to draw, that’s okay.
You can always just use a label.
Smaller details like lighting and subtle emotions you can leave out.
And sometimes the environment around the characters isn’t important to the shot.
Especially if this has been previously established in the storyboards.
Just make sure you have the core elements of the shot laid out in a clear way.
The most important things being the actors position relative to the camera, their movement, and the movement of the camera.
But even though you don’t need to include everything in your storyboards, and keeping them simple is good, no detail is too subtle to be included if it’s important.
This shot has an extremely subtle camera move, subtle enough that even though I’ve watched this film many times, and scrutinized the cinematography and editing of this scene for other videos I never noticed the movement until I saw it noted in the storyboards.
So however subtle a detail, if it’s important to you, you can include it in the storyboards.
In Parasite Bong’s camera is almost always moving, this movement and how it should be done is all laid out in the storyboards.
Don’t just stop at drawing an arrow that shows the camera moves- give detail about how that zoom is going to be done, is the camera doing the zooming, is it a dolly push, is it a digital zoom in post?
The crew should be able to know what camera equipment they’ll need to pull the shot off.
If a movement is too difficult to draw, you can add some diagrams to help the crew better understand how you want to move the camera.
Bong does this, especially with the more complex scenes involving a lot of people.
And it’s not just for the camera movement, for the chaotic finale, he includes a diagram just to show the position of everything and where all the characters are moving.
Don’t be afraid to whip out that iphone.
If you’re planning to shoot in real locations, and you know what they are already- you might as well integrate them into the storyboards.
For the mansion, which Bong designed as a set, he occasionally used 3D renderings to show what the house would look like once it was built.
If you have stunts or action you have to storyboard it in a way that’s actually possible.
For example if you need to swap between stunt performers and actors you need to plan a cut into the storyboard to cover up that swap.
As you draw your storyboards you’re essentially pre-editing the film, so you have to think about the things that would usually be covered over with editing.
It’s possible to storyboard things that would be impossible to shoot, so make sure you’re thinking ahead to production and post-production.
It’s also important to think about the transitions between shots and scenes and how you can use juxtaposition for your story.
An edit like this one, that contrasts the poor family in the dark getting wet, against the rich family, high, dry and in the sun- or this that contrasts the rich family’s closet against the poor families trying to find clothes- are specifically planned out in the storyboards.
Finally don’t forget to draw little devil horns on your characters when they’re being bad!
Storyboards are a powerful tool.
But in the book’s introduction Bong says that he doesn’t think storyboarding is necessary for making good films.
Bong worries that being so structured eliminates some of the magic that comes from spontaneity on set.
He admits that his main motivation for storyboarding is to alleviate his anxiety.
If Oscar winner Bong Joon Ho is anxious about the work he does, then you and I can take comfort in the fact having anxiety about our work, doesn’t mean we don’t have the skill.
And if we’re willing, like Bong, we can find methods that help us overcome that anxiety.
If meticulously planning things out and then translating those plans straight to film is what works for you then go ahead- Storyboard like Bong Joon-Ho.
WHAT ARE PEOPLE SAYING ABOUT THE VIDEO
@paulinaalanishernandez5208
This movie became one of my favorites ever. I always feel like rewatching it.
@squaresensei
Bong Joon-Ho’s dad was a graphic artist and the head of the art department at the National Film Institute. He would be proud of his son’s spectacular achievements!
@fishy658
Aaaa
@no_i_in_kersten
“Don’t forget to draw little devil horns on your characters if they’re being bad.” I mean, sure, why not state the obvious lol
@Sicaoisdead
Wow hold on, is the ‘ding-dong’ sound used in this video when making transitions the same bell sound used in Parasite when their intercom rings?!?
@toriigatedigital
What’s a good way to organize videos on YouTube
@justalangusta260
Ta Idฤ
jestem zaskoczona ๐
@cohlerustin8090
story book copyright!
@07jackg
Small observation: you miss out ‘Lesson 2’ and list ‘Lesson 5’ twice. Not hating, just here to help a brother check his editing. Love the video.
@shelbyphillips6381
chilledcow
@SerAbiotico
I find slightly ironic that the lesson the film proclaims is “no plan works, ever”, and the film was a huge, detailed plan that worked perfectly lmao
Although, i don’t believe the actual storyboard was so clean.
6:31 sadly, i have anxiety + lack of talent :0
@ThatOneRPGamer
I loved watching this movie when it came out with my Dad but it was awkward as hell when they were doing that sexual thing
@DmakProductionsTempe
You talk about some important talking points in the video production space! We love what you do, don’t stop. Anytime you are in Phoenix hit us up. If you can, DM us @dmakproductions on IG and we can connect. You do really great work.
@paulrichardson8149
This was very helpful, thanks!
@spiritualsnail1584
6:04 is my favourite thing. All my sotryboards will now feature devil horns lol
@christfollower8902
Can I just say, this movie is crazily odd, ominous, and downright bizarre ๐คฆ๐ปโโ๏ธ๐คฆ๐ปโโ๏ธ๐คฆ๐ปโโ๏ธIt started off calm but quickly descended into a nail-biting and wacky freak show. Such a demented bunch!
@melancholystarstudio
Love seeing these side by side! Such charming and effective art…
@sakinano99
2:24 lesson 1: you can always simplify
3:19 lesson 3: focus on the key elements
wait where was lesson 2??
@emperorpingusmathchannel5365
This movie just took the entire world by surprise. It is both a super entertaining drama and a damn piece of literature with the most subtle and meaningful societal commentary.
@TheMedicatedArtist
I didn’t know live action films had storyboards; I thought it was an animation only type of thing
Edit: Should have watched the whole video
@psychologyoffilm5463
excellent!
Really enjoyed this one
@cloudssfilm
God, he’s so talented ๐ญโค
@thamburanmm
Lesson 2 : Can someone who understood the exact ‘L2′ give a summary (at least brief) about it?
I’m a bit confused!
@veeramthakur6543
my day is down not having a good time this is jun 2 2021
@secretd5
Saying that one needs to be like bong and draw out all the details in the storyboards with camera movement details and post notes etc is a bit misleading and even irresponsible in my humble opinion. Filmmaking is a collaborative process and generally speaking should be collaborated on with your heads of departments. If bong drew everything out, with details to perfection, that makes him an anomaly not a standard. I’ve worked with so many filmmakers who act like they are auteurs because they feel like they need to dictate how each and every shot should be rather than having a dialogue with their trusted collaborators.
@DirectorS-c8f
i want graphic pdf please any one help
@lessonsfromthescreen6999
The topics of your video essays, the delivery and the editing and your narration are all done so well and delicately. I do enjoy and learn a lot from this channel. Thank you!
@Episodio-UM
7:08 Son of a gun, mr. Thomas, now that is a good black-and-white close-up, holy goodness.
@bennyquoi
When storyboarding a script with reoccurring scenes do the previously established scenes get a new number or a number/letter combo ? E.g Scene1, Scene2, Scene3, then we go back to Scene1 or is it Scene1A.
@x1101126
There are must be many versions of story board. When they decided to publish the book, they had to edit it to fit the actual film.
@mrspo7012
This made me realize how hard movie directing really is, I am very fond of people who can make such great artworks.
@yeungeddie
WOUAH
@MC-rq9bd
I’ve just discovered you channel and subscribed. I love your videos!
@VariTimo
Making story boards gives me anxiety. I much prefer the Nolan way.
@krishnasantosh9896
Great work!
@zit-n
Even in a scenario(script), he put some important camera movements and editing points.
@lowlowseesee
yo im going to storyboard using Unreal Engine. but yeah this is dope
@anaanastasia8302
Last lesson almost made me tear up, really needed to hear that
Awesome video!
@ericvargas5362
one curiosity as why he used 3d render for the story board is that the full house was never builty, it was filmed in various sets and when the full house is in the scene, is actually VFX
@AndreFernandesMovies
When I saw this movie it immediatly became my favorite movie of all time. First time I really felt joy watching the oscars, and realizing that they actually awarded the best movie of the year even though it was a movie with a foreign language.
@Genbastudio
Excellent video! thanks for sharing
@LordKeram
The sheere amount of work that went into the storyboards contextualises beautifully how clean Parasite is as a finished product. Not a single shot wasted by the director. While not the foremost of my aspirations I always wanted to make a movie someday, but watching this made me doubt whether I could ever create anything even nearing this beauty.
@chickiepoo
This video was very interesting and i now want that storyboard book. Def a new subbie now. Thanks for the vid!
@TOSYR
Thank you for making this. I feel this advice is also applicable to editing comics. I’ve been having trouble finding material on that topic specifically and this gave me a little bit more direction.
@kili9559
storyboard artwork ๐ฌ๐ฝ๏ธ๐ +91 9080726482 โ๐ป
@hpvarts3811
I’m preparing for visual communication course. Exam will include storyboard composition so I’m here taking some notes ๐
@zeribot2300
Awesome I am actually making storyboard for our animation capstone, this helps and actually eases little bit of my anxiety
@LOCKSHADES
To the random person in the bush 2:00 that was hitโฆ..we’re sorry๐๐๐
@ahsenklc6574
past courses of film graduates. ๐ It helped me to prepare a storyboard for my project.
@blank2541
Awesome video, your affiliate link is hard to use on mobile though
@oli47
I just got this bookworm Christmas because I saw it in this video! It’s so cool to see the proces!
@Kprof
interesting;Where can i get this storyboard or other famous storyboard?Are they kind of open license?
@iamsheep
Amazing video as always Thomas. To be fair about you missing the subtle rack focus, it could simply be because (I’m assuming) you don’t read Korea. I bet if it was in English, your eyes would automatically be drawn to what it read and therefore pick up the change in focus.
@xianhui_wang
You’re right, there are many methods to be reassured when making a film. You never have to follow the traditional process. Makoto Shinkai often wrote the script for his film with the structure of a novel. This is why most of his films have a novel version, example Your Name’s script. Someone had told him that he felt like he was reading a novel by reading the script. And so, the idea of releasing a light nouvel version came.
@mnkr-nhl
Great video but your 20Hz to 250Hz are peaking so much in my ears
@ladydiamond6611
So what you’re telling me is he made a live-action of his animated movie?
@NothingHereForYou
Goodness this is inspiring. Seeing the quality of the drawings make the job of storyboarding, at least when it comes to drawing skills, seem not too overwhelming for someone who wants to get into it. The more I learn about storyboarding the more it seems exactly what I want to do. I love visualizing scenes and shots from books and music, but being a full animator or visual artist is too time consuming and daunting. This seems like a perfect middle ground of just fast paced enough story telling and adapting for me.
@ZiegeT01
Wait… Where’s Lesson 2?
@3dvolution
Just at the right time, I’m working on a storyboard and your synthesis of what to take away from this movie’s storyboard is great, thanks for sharing ๐
@judehuppert9422
๋ด์คํธ ๊ฐ๋
๊ทธ๋ฆผ์ฒด ๋๋ฌด ๊ท์ฌ์ ๐
@moroteseoinage
I saw this movie when I was super drunk, at one of those movie theaters that also serves beer. I was so confused when I sobered up a little bit when the movie changes into a low key horror movie at the last act. It was an amazing revelation.
@directorserge
Such an amazing breakdown! Learned a lot. Thank you very much. To me, as to a film director, it’s very useful.
@lowlowseesee
yo how did i miss the fact that theres a storyboard book!?!?!?! a must lol
@Nemopartyofficial
i love that the storyboards look like they were drawn by any other film student, gives me some comfort in knowing your drawing skill isnt as important as actually conveying the idea
@SnoTheSkeleton
fuck man time to watch parasite for the fifteenth time
@misgmsdf
the man with a plan
@arnoclaesen8105
with a bit of work those storyboards could be a cool commic
@nifeab
That’s why I reckon the storyboard doesn’t gotta be a polished comic book; it just needs to make sense. If you invest too much time doodling, you might find yourself short on time to envision how the scene unfolds.
@Leprutz
I make storyboards for the scenes I really want to be shot in a certain way. I plan them out to the most minute detail. Mostly those are complex shots with either lots of blocking or some action. The rest like conversations and such I do rather improvise the shots. Mostly due to the performance of actors. Sometomes I see something that I wouldn’t have seen beforehand and I know what to focus on. If reactions by close up or certain movements if important in that moment. I try to avoid the typical, Shot – back shot editing type of converstations. They seem limiting, distracting and can destroy continuity easily.
@kevin-bf4ww
american animation studios be like:
@lenOwOo
And in other hand, we also have director that doesn’t even know what he wanted in a set. Pushing and pulling everyone around him.
@eduardomanrique400
oh no, hes handsome too
@kujojotarostandoceanman2641
this reminds me of one punch man’s web version, it’s simple, non detailed, but have all the thing indecating what’s happening
@lcmpark
THE BEST
@definitelynosebreather
The storyboards are cute
@digitalsketchguy7844
Nailing the whole movie at the storyboard stage without hardly any changes during production is like Mozart penning a symphony without any post edits. Genius!
@Curby0
Amazing analysis and taught me so much, thank you. I’ll go back to this video.
@TylerAO12
I bout the book of his storyboards and I love how he includes that he drew over photos to save time and his boards are sketchy. Dozens of times over the years I’ve been studying Storyboarding have I come across people saying that including photos, sketchy lines, color, etc in storyboards means that they’re not storyboards but illustrations. So everyone someone tries to pull that crap with me I link them to all the award winning professionals who use color, have sketchy stock figures, use photos, even trace over faces in their boards and stand by those techniques as long as it’s getting a clear story across quickly and effectively. โค
@shaicastillo_
WOOWWWW
@user-11Il10I1
Probably my top Korean film.
@annienguyen735
Does anyone know if he exclusively drew the storyboards himself or does he have other artists help him with it, and what’s their names?
@airfox
Is the camera move at 3:35 just lens focus breathing?
@piajanep.paloma7911
Can I use your video for my class?
@jacobprice4311
One of the greatest films made
@Atomic-toons00
But the problem is in transition between shots
@user-mg9sb4db8f
most inspiring viid in terms of creating! i will follow my gut
@teerexp
I did this as a kid for fun and had no idea this was a thing. I also used magazine cutouts in the storyboards.
@e1hz997
This could also be a manga paneling and angles tutorial.
@EuCountero
I LOVE IT
@TearsOfCyan
Masterpiece movie can teach us more than we know today. Even after years and years that we live.
The Parasite, is the one.
@MARK-t3h8m
์ธ๊ณ์ํ์ฌ์ ๊ฐ์ฅ ํ๋ฅญํ ๋ช
์
@iamhangyodong
Bong’s newst film, Mickey 17 is a good movie tho but it didn’t go beyond Parasite.. Parasite is TIMELESS MASTERPIECE for real
@chokoon21
Ppl who are amazed by this have never read manga fr
@sicotropic
Great. Another reason to absolutely love this film.
@BadBunny-V8
์์ฌํ์ง๋ง์ธ์! ๊ทธ๊ฑด ์ํํฉ๋๋ค
๋น์ ์ด ์ผ๋จ ๋ด์คํธ ๋งํผ ๋ฅ์ํ๊ฐ๋ฅผ ๊ณ ๋ คํ์ธ์ ๐ฎ๐ฎ๐ฎ
@JoshuaYoung2
Simplifying the shots may not have been because of artistic genius in most of your examples. Having worked on sets for 20 years, I can safely say 60% of the time it’s ’cause they are running out of time, running out of light, or running out of money. As you can see in your peach example, from wide shot to medium close-up they’re clearly losing the light. They started with their wide, did a few takes, then in the medium-close-up as she’s kissing the peach, the light is a lot higher, indicating it’s about to be gone from that alley. The chances of getting the shot he storyboarded are almost non at this point so he’d put as much of it into one shot as possible.
@renauddobeck279
amazing
@lawrencegress9831
This is very useful and really well executed. No fat! Thank you.
@lawrencegress9831
This is very informative and well executed. No fat! Thank you.