Some departments in production just hate storyboards in general and “to be driven” by someone else’s view. For the director of photography (with rare exceptions) feels frustrating to go after a storyboard artist’s vision and all the creative freedom being taken away.
This is also usually a painstaking, but creative process, but still you can be sure that the burden of storyboarding and previz being taken down from your shoulders. Trust that you can only focus on your vision and lead your production instead of micromanagement, while getting everyone on the same page.
Filmmaking is a practical profession. This is when animatic comes in handy. A moving storyboard, where you can immerse yourself more into the action visually, get approximate timing and depth of the narrative and figure out many condensed, focused ways of telling your story and highlighting character traits, you wouldn’t even have thought about before. This is one of the secret ingredients in creating powerful and successful films.
These are the “sketches”, the development and pre production phase of your story, where nothing is final, but you are already feeling the joy of making a movie and kicking some progress into gear.
