Storyboarding experiences by Ben Juwono #1

Storyboarding experiences by Ben Juwono #1

Storyboarding experiences by Ben Juwono #1
My name is Ben Juwono and I am currently a director at Dreamworks TV. I started in the industry in 2012 when I got my first job as a storyboard revisionist on Ultimate Spider-Man over at Film Roman. After a year as a revisionist I was promoted to a storyboard artist on the same show, and after USM ended production, I moved over to Dreamworks TV to storyboard on Netflix’s Puss in Boots series. During this time I have also freelance for Splash Animation, Titmouse Inc., Warner Bros., and Marvel Animation Studio.


Considering the production pipeline, storyboards have got to be the most essential part of any animated show. It is in the storyboarding stage that the script gets its “first look”. One can read a script and visualize what it’s going to look like, but not until it gets storyboarded that one can see what works and what doesn’t work with the script. It is also in the storyboarding stage that the story becomes solidified. A sequence that is storyboarded well can make a weak script look really good, while a sequence that is badly storyboarded can make even the greatest script look amateurish.
From my experience as a storyboard artist, it is imperative that a storyboard artist put in as much information as they possibly can in the storyboards. Information about staging, composition, lighting, layout, acting, all of it must be present in the storyboards for the animation to come out well. A story artist’s greatest weapon is their ideas, but they cannot be simply an idea person, they must also be proficient in the technicality of art and have excellent draftsmanship. Sometimes a bad idea when drawn well can work, and similarly, a brilliant idea can fall flat when not executed properly.


For more information about Ben, visit his website at





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