Sequencing, Shots, and Plots
Note to Educators: One of the biggest bottlenecks in filmmaking is editing. Editing is usually handled by just one or two people. Our approach flips that. To keep kids collaborating we front-load the editing as much as possible. The group makes creative editing decisions early. We encourage the sequencing of scenes, or “editing”, to stay a dynamic out in the open process from the start.
Young cinematographers stand and deliver their stories.
Joe begins, “Okay. Now that you've timed out your movie and sequenced your scenes, it's time to tighten things up a bit. Get out your storyboards.”
The room fills with the sounds of shuffling papers, rustling supplies, and students grouping together.
“I’m going to describe the steps for today,” Joe continues. “This is mostly a pre-production day. It’s also the moment where the artists finally get to make things pretty and artistic,” he adds with a grin.
“This scribbly mess we call a stick-figure storyboard? That’s our blueprint. Don’t lose it. It’s going to be part of every session from here on out. Today, we’re going to create big, beautiful, color illustrations of each storyboard scene.”
Each group has a box of crayons, colored pencils, markers, and blank 8x11 sheets of white paper at the ready.
“Before you get started,” Joe says with a spark in his eye, “I’m going to change the way you look at movies forever.”
He walks around the room, passing out three printed worksheets.
“These worksheets will help you become the cinematographers we need you to be.”
Joe pauses for effect.
“As a filmmaker, you need to understand that where you place the camera matters. The camera is actually a character in your film.”
“For the audience, the camera is their point of view — their POV — and the movie streams straight into their brainstem from this perspective, right next to where their dreams live,” Joe explains. “We don’t think much about camera position when we watch a movie...”
“But!” Joe continues, now pacing a little, “when we make a movie, camera position takes very careful planning. These basic ideas on your worksheets? Hollywood’s been perfecting them for over 100 years.”
“If we do it right, where we place the camera will have as much impact on how our audience feels as anything our characters say or do.”
Joe turns to the board.
“We break our planning into three basic options,” he says as he writes:
Long Shot
Medium Shot
Close-Up
“Let’s review each one.”
“Long shots are used when you want to give your audience a clear sense of the setting — or show differences in size,” Joe explains, pointing to the worksheet labeled Long Shots.
“For example, in our turtle movie, we might start with a long shot of the baby turtle alone on a frozen lake. That helps the audience feel how small, lost, and lonely it is in such a big, empty space.”
He pauses, then adds, “If you were using a real camera, you'd have to back up a long way to fit the entire lake in the frame.”
“Medium shots are best for showing your character on screen, doing something,” Joe explains.
“If you have a scene with two characters talking, or a moment where someone’s striking a cool pose or showing off a costume, this is your go-to shot. You want the camera close enough that the character fills the frame — not too far away, not too close.”
He adds, “In our rocket movie, for example, if a boy is sneaking into a spaceship, give us a great medium shot that shows his whole body in that sneak-walking pose. Let the audience feel what he’s doing.”
“Close-ups,” Joe continues, “are probably the shot you’re most familiar with — but what matters is how we use them.”
“If your characters are showing big emotions — laughing, crying, or anything in between — get in close. Let those emotions fill the screen. The closer we are, the more your audience will feel it.”
He pauses, then adds, “Close-ups are also great for small but important details. In our diaper movie, we start with a close-up of a phone screen. Why? Because the audience needs to read the text message to understand the whole story. A close-up makes sure nothing important gets missed.”
“Using your storyboard as a blueprint,” Joe says, “let’s apply these shot choices to each scene as we recreate them in living color.”
He continues, “By the time every scene is illustrated, you’ll have decided on camera positions and started designing your characters and costumes.”
Then he grins, “Once that’s done, each group will present your story to the class — a full-color show and tell.”
For the rest of the session, Joe floats between groups, offering feedback on shot selection, character design, and color choices. Not every team finishes their drawings, so presentations will kick off next time.
Before the bell rings, Joe pauses at the door.
“Oh — you have homework.”
Groans ripple through the class.
“I told you this would change the way you see media,” Joe says. “I want you to notice how scenes shift between Close-Ups, Medium Shots, and Long Shots in anything you watch. Pay attention to how often the camera moves, and why it’s placed where it is.”
“These brilliant people called cinematographers work closely with directors to make those choices. But in your movies — you’re playing every role. So start noticing. It matters.”
He gives a final wave. “Goodbye!”
Who is this Joe fellow?
The Storyteller Who Makes Classrooms Cinematic
Joe Summerhays has shown more kids how to tell a story with sound and motion than any filmmaker alive.
Founder of Animating Kids and producer of the Animation Chefs webseries, Joe turns filmmaking into a team sport for the content creator generation. Through a by kids, for kids cooking-show format, the Animation Chefs have inspired tens of thousands of young creators worldwide—bringing Hollywood-level storytelling into classrooms and media labs. With 25,000+ students and educators trained in 20+ countries, Joe equips kids with the storytelling framework and creative vocabulary they’ll need to thrive in the digital age—whether directing a film or prompting an AI. this work shows how visual media literacy is reading and writing with sound and motion—complementing traditional literacy and making it relevant for the modern world.
More Testimonials:
"I am impressed by...these programs, providing young people with the skills to become creative and critical thinkers...this shares my dedication to nurturing the next generation of filmmakers and visual storytellers." — Steven Spielberg - Referencing the work of Joe Summerhays“
"Joe (Animating Kids Founder) has turned the art of movie making for kids into a science.” — Jonathan Demme - Academy Award-Winning Director
“I absolutely love Animating Kids...you have no idea how amazing it is for a span of K-9. I’ve got the whole building covered and my planning was done for me. The kids LOVE the Animation Chefs. Win, win!!” — J. Tuttle - Media Specialist
"When I found Animating Kids it changed everything. Small and not so small humans became masters of sound and motion on any subject via small group PBL dynamics." — Rachel - Tech Coach - Quebec
“Animating Kids has changed everything! Fun, relevant media-making lessons for kids, and total P.D. for my non-film making teachers. A complete solution!!” — Principal - Bronx NY
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"This is the most important skills-based content for today’s kids. I don't think primary educators get how impactful this approach can be. It respects media content creation as the basic literacy it is for today’s kids. — Monique - White Plains NY
“We went through the entire process (PD workshop) of learning animated filmmaking with our tablets and smartphones. We could barely keep up. In the end we came away exhilarated rather than exhausted.” — Cathy S. - Librarian“
"My head was spinning. It involved: math, writing, science, team building, art, language arts, engineering, improvisation, innovation, acting, etc. Along with another dozen areas I can’t recall. Sneaky comprehensive. Mind blown. Can’t wait to use it in class.” — Marcia - 4th Grade Teacher
“Animation Chefs have created a really inspired program! My test group of (hardened gang members) like to laugh at the videos, and they love the simple clear explanations. They just have a blast...”
— G. Zucker Austin TX
"Thank you SO much for sharing your wealth of information and opening this world to every kid! I first learned about you when my husband introduced our daughter to you. Now I am bringing it into my after school program. I’m so psyched!" — Joy H. Retail After School Specialist
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