Storyboarding – The Lost Sheep – 361mc

THE LOST SHEEP STORYBOARD SCAN.PDF – click the link to download the non-noted storyboard. Unfortunately the only noted storyboard was hand written and majority of it had been ruined or gone missing while on set.

 

In order to understand the storyboarding process I did some research into how to conduct it professionally. Below is a short documentary informing on how the Pixar team storyboard their films. It’s interesting to see how they make the films and make aesthetic changes to the film before the film is made. A point they make is that the storyboard process is the “re-storyboarding” process. I’ll make sure working with my storyboard artist to discuss all the points and changes that we think it should have. This has been discussed with my DOP Alec Jordan before hand, and I’ll be working off a shot list we created for the storyboarding process.

 

http://www.ukfilmnet.org/welcome/courses/professional-storyboarding

http://screencrush.com/movie-storyboards/

 

As I am directing The Lost Sheep I was put in charge of creating a storyboard for the film. I wanted to make a high quality storyboard in order to help bring across the ideas I have for the film to other people so they could visually understand as well as verbally, since “communication is the key” to Directing. Storyboarding was a very interesting process, one that I very much enjoyed. In order to get the best storyboard I could have I visited the art campus and along with my concept artists I found Chris Locke who agreed to work with me. It was the first time I’d ever worked with an actual artist to make a storyboard, as I am used to drawing out my own for my films. The process of actually sitting down in a room and describing everything I wanted was a new experience and I much prefer this process then doing it all on my own.

Nathanael McGirr and Chris Locke Storyboard The Lost Sheep

Chris is extremely talented at drawing, using him to create a storyboard cut the duration of this process down by an incredible amount of time compared to doing it myself. However the whole process still took more than 18 hours in total, it’s interesting because it isn’t just a case of describing and drawing, it’s more a case of “show and tell” than draw.

The above pictures are a perfect example of the “show and tell” process that is involved. In order to get the frame, using my smartphone’s camera, I would use objects or people in the positions that I want them to be in frame. Chris then has the picture or video to reference and draws out exactly what I’m looking for. Below is a video I put together that displays the comparison of the storyboard reference videos we used to draw from and the shots that are put into the actual film.

 

It is interesting to see the development from just a phone recording using the pause as a cut and one of the last edited drafts. It’s shown me how important the pre-production process really is. We are essentially creating the film before it’s actually created. Unfortunately due to time I was unable to meet with Chris again to make  storyboard for The Forgotten Child. This did slow down the process of filming since there wasn’t as visual guide that I could show to my DOP or actors like I had for The Lost Sheep. Next time I will make sure to have one on all sets as I find they save much more time than having to explained everything in just words, just as John Lasater says in the Pixar documentary “let’s show it, with storyboards”, it helps to make things clearer.

 

Bibliography

American Film Institute (2009) Steven Spielberg on Storyboarding (1978). Available at: https://youtu.be/nBH89Y0Xj7c (Accessed: 11 March 2016).

Daniel Garcia (2013) Pixar Storyboarding Mini doc. Available at: https://youtu.be/7LKPVAIcDXY (Accessed: 11 March 2016).

 

 

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The Poster

First Drafts

Below are my first basic drafts at posters for Remnant. I had a try at also making individual posters for each episodes to see if they liked the direction that they took. The posters were made in Photoshop as I am most familiar with using this software. I researched into websites that told me certain elements that make a good film poster.

7 Elements of a Great Movie Poster Design

 

The above posters were my drafts of what could be our poster but none of us really liked where they were going. The only poster that we thought looked any good was the poster of the knife, we liked the minimalistic style I’d gone for. I wanted it to be an object that could represent the whole film. I personally really like the aesthetics of The Lost Sheep poster that is a long shot of the characters walking away from the camera. I find it quite interesting to see this post-apocalyptic world where two characters are on a journey. It makes me think about what they could be walking away from or towards. However it had the opposite feedback, Daisy and Caitlin felt that it didn’t feel like it fit the film enough, that it didn’t stand out. I can understand this since they then followed on to say that the best poster was the minimalist poster with the knife. We all agreed that the style fit the film and that we would pursue this style. We also agreed to have our concept artist Everlina hand draw the poster for us to make it even more interesting and stand out as she has a very messy style of drawing and painting that could fit the film nicely.

In order to get a n

 

Below are some examples of other short film posters I looked at…

Connected

http://www.imdb.com/title/tt1506952/

What I really liked about this poster was the striking imagery that has been hand drawn. I love the way it has been hand drawn and quite minimalistically yet is able to show a good concept for a film. Just from the image I am able to see that the film is set in a strange desolate land where we follow two characters who are connected together. connected

The poster fills up the frame very nicely and follows a great colour scheme. It doesn’t complicate anything for the eyes it is a simple poster that is very easy to understand and makes me want to watch it. For our own poster I’d like to stay along the lines of a minimalist hand drawn poster. Our films are not big films that fit epic posters like an avengers but something interesting like this poster. The use of little colour could be something interesting to play with also.

 

 

 

 

 

 

 

 

 

This is No ordinary Girl

http://www.shortfilmposters.com/2013/no_ordinary_girl.html

This poster has nice visuals but I feel it lacks any information that would usually draw me into the film. The font is not good at all, it looks cheap and badly designed. no_ordinary_girl_xlgWhat I do like however is the white on black, it goes well with the negative space in the poster but unfortunately I think the font is terrible. Unlike the Connected poster above, it doesn’t stand out as ‘a brand’. I wouldn’t see this font and automatically think of this film (at least not in a positive way).

 

 

 

 

 

 

Further Ideas using Pinterest

In order to understand what we wanted for the poster we threw together a Pinterest of all the posters we found on google that we liked. As you can see above, the majority of the posters are going for a minimalistic style, this is what we feel would work the best for the films. From this we all did some poster designs to see what we felt would work the best. We really liked the art style of the Gone Girl poster and felt that the poster should have our characters heads drawn out just like the photo since this was also a style that Everlina would be able to produce for us nicely since she usually draws like this. Below is the draft of what became the final poster, it was put together by Daisy Spivey using the element of the Gone Girl poster and on set photos that were taken during production.

 

 

 

 

Final Poster

Remnant Poster FINAL FB