Hey all,
A quick update on how things are going here at Finite Films. Ryan and Alex are hard at work writing the Halloween Film based off the excellent constraints you all voted for. As far as Defenseless: Part Two goes, we’re going to meet up with the whole cast this weekend to go over some choreography before we begin shooting on Tuesday. Meanwhile, I am drawing storyboards:
That is an example of two storyboard frames from Defenseless: Part One. Every shot in a movie has to be meticulously planned, and that usually means storyboarding. Different directors work differently. Some just create a detailed shot list but don’t actually draw the frames out; I have always worked best when I’ve drawn out every single shot of the movie I’m making. Whichever method you use, it is this extensive amount of effort put in during the planning stage that makes the movie-watching experience effortless.
These are two shots of the lovely Sophie Green that demonstrate how storyboards can be valuable. It allows me to think about every shot, and decide, for example, if I want to have max’s shoulder in Sophie’s medium-shot (like the shot on the left) or if I want her to be alone in the frame so that we just focus on her (like the shot on the right). It also demonstrates what else goes into making a shot come to life, as these storyboards don’t have the beautiful location, lighting, or performance that makes the final shot come together.
Two storyboard shots from the car chase.
When doing visual effects work, it’s very important to know exactly what the shot will be. It helps to visualize all the elements that will be in the finished shot and helps you think about how best to go about making it all happen.
I’ve run out of mildly-interesting things to say about storyboarding, so I must now return to drawing the storyboards for Defenseless: Part Two!
—MT
(fun fact: Defenseless: Part Two will have more shots in it than the entirety of our first film, You Are Here)
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