Drawn directly on paper and the personal work of director, Kaare Andrews. Being able to communicate in a simple drawing reduces a ten minute conversation into the second or two it takes to share an image. The time savings in approaching directing this way are exponential but usually reserved for feature films, where a single script is refined over months and months.
The secret to being able to storyboard for television is to be able to do them quickly. Scripts change every day. To keep these shots relevant you need to revise and reinvent them on the fly, often the morning of the shoot and sometimes even moments before going to camera.
These are actual the sketchboards used in the production of Aftermath. They not only informed shots and lighting on the day and were included in distributed shotlists but early versions of these boards were used to design the Sets, Stunts, Special Effects and Visual Effects. A visual tool for a visual medium.