當劇本轉換為分鏡表的畫面時，無論是在動畫或電影裡，皆是決定前製作階段的關鍵角色。在繪製分鏡時需思考由靜到動態的過程，考量整體的視覺呈現、美感與剪輯的綜合性思考，才能確保在製作階段時達成效率與節省經費。承基於此，本研究以3D電影動畫短片前製作的分鏡繪製為重點，採用訪談法進行驗證。首先進行文獻探討搭配理論整理出分鏡繪製的原則，然後將自行編劇的故事《黃金．記憶》繪製成兩個版本，透過五位專家作為驗證。研究結果顯示本研究之分鏡繪製方法在敘事手法、角色情緒、場景氛圍三方面效果較佳。

When script is transformed into images of storyboard, no matter whether it is in the animations or movie format, it plays the key role in determining the preproduction phase. While drawing the storyboard, it requires pre-pondering about the process from the stationary to dynamic which evaluates the composite thinking in an integrated visual presentation, aesthetics and film editing, and these can ensure the ensuing production phase in reaching preset goal of efficiency as well as cost saving. Based upon the above, this research emphasize the storyboard drawing during preproduction for short 3D animated film and adopts the content analysis and interview method prior proceeds further. First of all, documentation exploration will be carried out in conjunction with theoretical and short films renowned both domestically and abroad, to sort out principles for storyboard drawing. Then two versions of the self-edited stories "Golden memory" will be drawn into storyboards and five experts will verify afterward. The finding of this research reveals that B version of three directions of "Golden memory" exhibits the "narration", "emotion of the role" and "surrounding atmosphere" was better.