Here is a sneak peek of a storyboard which until now only one other person has seen. One thing that I learned while making this was how to apply the Pareto Principle to my workflow. For me, that meant I had to think of ways to use my software tools and set up my workflows to maximize efficiency so that 20% effort would get me 80% of the way.
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The storyboard looks incredible, James Wunderlich! Is it for Fae Wild?
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James Wunderlich Hi James, how are you doing?
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Hi James, I'm an illustrator. If you ever need illustrated posters/concept art for pitch bibles, etc let me know! ;)
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Maurice Vaughan, thank you for the compliment. This one is not part of the Fae Wild project.
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Geoff Hall, I'm good; Thanks. Your profile is an interesting read. Having worked with hybridized genre, what are your thoughts on the process and results?
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Shout out to Dave Aquino, thank you for the info.
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Harri-Pekka Virkki, Thank you for the love. Much appreciated!
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Alicia Vaughan, thanks again for the love.
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James Wunderlich Hi James, I think I’ve had to be mindful of blending tropes, rather than slicing the script up into - this is the fantasy sequence, horror sequence, action sequence, etc. It’s like adding ingredients into a recipe. If you are making bread, the last thing you want to see is a mass of yeast in the middle of it.
This morning, I’ve just read this beauty of a quote:
“What we need to know is how the imagination thinks. Or, to turn it another way, how the human being thinks with their imagination; how they think in pictures.” Elizabeth Sewell
For me, that is the challenge. To render images that reform in - or haunt - the imagination of the audience.
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That's a fascinating frame! Thanks for sharing!
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You're welcome, James Wunderlich. What project is the storyboard for?
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What a beautiful storyboard, James Wunderlich!
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Looks spectacular James Wunderlich!
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Geoff Hall, Thanks! That really makes sense to me. Everything clicked. Excellent analogy. Now I know how to proceed, I'm getting fired up! I've been carrying this idea for quite a while and I knew that I wanted to write something beyond a this vs that screenplay, which in essence was what the the original idea presented itself as and which would still be the case in the end, anyway - even though I came to realize that the opposing characters represented two separate genres and the conflict between them was a third genre. At that point I thought, well, might as well make it an even four with the B story line. So, when it came to the point where I had to answer the question of What Is It? I already had a simple it's Blank vs Blank. (Now, I do have the two words to use to fill in those blanks, but I'm not telling; only because it would just ruin the trick and besides, I want to challenge my writer's self in this project.) In terms of genre, I can answer Maurice Vaughn's Question. The storyboard project is for a Sci Fi Horror War Monster movie. (Genre in Caps.) This is why I asked you for your thoughts on working with hybridized genre. Thank you, Geoff. By blending the tropes within the genres and with visual storytelling, i.e. visual thinking, I can see the forest for the trees, now. And what a beautiful quote from Elizabeth Sewell. Thank you again, Geoff for giving me a light on the path.
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Fantastic!
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Shout out to Cecile George! Thank you very much for the love. Best of luck on your preparatory short film.
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Shout out to Rachel Troche! I thank your for your feedback. Nice logline for Newsworthy. It made me think about that great line at the end of the movie Chinatown. "It's five o'clock, somewhere." popped into my writer's head.
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Shout out to Preminda Fernando! Thanks for the love and kind word.
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James Wunderlich that’s cool to hear, James and I’m only happy to help with your process. Sorry for the tardy lateness of my reply, I’ve spent the last couple of days looking after my grandson, Theo, who has Chicken Pox, so a tad distracted.
With Seeing Rachel my two protagonists and two antagonists worked in oppositional ways within their own worlds. The protagonists, two women; one physically and mentally confident, the other needs the presence of the other to function competently. (Action woman versus cerebral, plodding police work - action movie vs procedural). The antagonists, well, one is an active antagonist and the other passive and like you I don’t want to give too much, if anything away; the joy will be in the viewing! Above all, it’s about creating images for people to think in. Have a great weekend, James.
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Hope Theo gets better from Chicken Pox soon, Geoff Hall!
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Maurice Vaughan thank you, Maurice. The report this morning was optimistic and that he’s slowly on the mend.
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You're welcome, Geoff Hall. Glad to hear it!
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Maurice Vaughan I appreciate your concern.
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Can somebody explain to me what the point is of such a most likely expensive storyboard? I can imagine its interesting to have something like a moodboard or some artwork to pitch, but me from coming shooting complete films without a storyboard am kind of wondering why we should invest in something like this. Looks nice though, would love to see more of it.
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Willem Elzenga Part of the point is to sell it to the investors; they may need something to see, to help them engage with the story. Personally, I don’t think I’d storyboard a whole film. In the past, we used it for the action sequences, to shorthand the shooting process. It helps us plan the coverage.
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Shout out to Paul Rivers! I would encourage you and other screenwriters to seriously consider rewriting scripts into novels, plays, etc; and for novelists who plot, screenplay format will give you a 120 page document ( a blueprint, if you will) that in the end tells your story and is waiting for you to give it a novelistic approach. As a business person, I'm always looking for multiple revenue streams and as a writer I enjoy getting a second bite at the apple. I've turned the 90 page Aisha & the Water Dragon screenplay into a novel and the 22 minute silent film, Wisps of the Aphophysis screenplay I rewrote as a 50 page minor epic poem in early modern English. I must say, I had a blast doing it.
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Shout out to John January Nobel! Thank you for the like, greatly appreciated. I viewed your profile; have you considered posting your loglines or received any feedback on Collateral Risk?
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Shout out to Federico Alerta. I thank you for the like!
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Shout out to Antuan Martinez! Thanks for the like. Greatly appreciated!
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Shout out to Christian Bacon! Thank you so much for the like.
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Shout out to Mark Deuce! Thank you again for the like. *****stars @goodlearners
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Shout out to Willem Elzenga! Congratulations on your Fire Starter Film Studio success. Lovely pic of the 'Lilium Stargazer' on your studio site. I had read the book, Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation by Francis Glebas, a top Disney storyboard artist, and I realized very quickly that the drawn or painted storyboards were rarely or never part of the actual movie. They are essentially visual scripts that serve as pre production blueprints. So, I got to thinking of how I could apply the Pareto Principal to get 80% of my animated film done with 20% effort on my part. My solution was to not think of storyboards as pre production assets but as key frame production assets. So, with very little effort, I was able to whip up that pic quickly and efficiently. It's basically one production ready keyframe of cell animation to be tweened with additional animation. In other words, the storyboard actually consists of a background cell, the character cell and a foreground cell that have been color corrected and templated to be reused. It represents one shot. The character pose data is now ready to be imported to the rigs as keyframe poses, and the color correction is already templated and stored for similar locations. In addition, the storyboard itself is aspect ratio correct. I also have my blocking done and for the city scenes I have my previs done. In addition, as each storyboard equals one shot between cuts, I can import them as is into the Avid to check for coverage and even timecode the pacing of the sequences to my liking and to the music that I compose for the film. For me. I'm really enjoying the workflow and I think that the Pareto approach is going to reduce my investment of time and money on this project.(But, we'll see.)
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Sometime soon, I'll whip up an interior shot storyboard from the project and post it for feedback. Edit: It's now posted at my profile, if you are interested.