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

 

 

Fight Co-Ordinating – Remnant: The Lost Sheep – Development

 

Steve Coleman is an acting stunt man who is also a fully trained award winning Wu-Shu champion. I worked with him not only as the lead actor for our film but together we created the final fight for The Lost Sheep where Alec and the Father collide. At first I wasn’t sure where to start off, I made sure to be honest with Steve and explain my love for stunt work but my lack of knowledge when it came to creating the choreography for the fight. I took this first meeting as an opportunity to learn how to fight in a fight sequence and how to choreograph it. Working with Steve was excellent and I thoroughly enjoyed the experience of fake fighting out a scene we had created, I made sure that Caitlin was watching to write down notes that she may need to change any of the script in order to make the fight scene work. I felt bad at times since she was often sat alone in the corner bored out of her mind watching us. But I am glad that she was there. We made sure to document the fight development as possible, the video above is a playlist of our development, it’s 30/40 minutes of raw footage showing how we worked together throwing ideas at each other and developing them to a point that we were happy to walk away. We made use of the local student bar’s upstairs space in The Pheonix, this is the same place we held our auditions in. When we had finished for the day we made sure to film the fight scene from start to finish so that we had something to look back upon and improve if we had to. Here below is that video…

To get a better feeling of what the end product may feel like – I added sound effects to the punches , kicks and throws to bring the scene out more. Although these sounds are extremely cheesy they actually manage to bring the scene out even better. It’s actually amazing how much it sells the punches even though they’re obviously not connecting (I am not a trained stunt man).

Improvements needed to make the fight better

So watching that fight back I made notes as to what I feel would make the scene much better:

  • Hold onto the choking at the end, make it long and uncomfortable to watch
  • The dialogue in between breaks in the fight need to be worked on to be made clear, interesting and hand emotion to the scene.
  • Need to find the right camera angle for the right moment as some angles gave away the distance between the fist and the face.

 

The Fight’s Development

The fighting continued to develop through the coming month and I made sure to have a meet up between jason Segade (The Preacher) and Steve (Alec) since they both need to learn the fight by heart. Just as the first fighting co-ordination I made sure to film this meeting also. The first video of the fight scene came in handy just as it was purposed to do, we used it as a reference the whole time in order to remember and improve from the last time. Jason gave some good idea’s about his character in the fight but I found that he would over power me at times. I had to make sure that he didn’t find himself going in a direction that I’d feel as the director is the wrong way. By the end of the three hour shift both Steve and Jason knew the fight off by heart and I made sure to film another fight sequence as before.

To show how the fight developed into the real thing I put together a video that has all fights playing at the same time. It has the first fight, the Jason and Steve meeting and the final on set fight in the second draft edit…

It’s interesting how much changed and what stayed. One of the biggest points of change is the choking at the end of the fight. Previously in this blog post I’d written how I wanted that to last longer and in the second draft edit we can see it lasts much longer than any of the other versions. I personally feel that it works well, it creates an uncomfortable situation for the audience to watch. What was also interesting was the camera shots in the draft edit compared to the others. I filmed the others in one long take where as the draft edit is around 100 different takes of the fight. Looking at it from an objective point of view I feel it works but I still feel that aspects of the one long shot work much better than in the final thing. Moments where the camera flies around them in big swoops looked smoother and better on the first choreography sessions compared to the 2nd draft. I feel with more time in editing the fight scene will turn out quite exciting as right not it seems to lack in punch. I’ve given back this information to Caitlin who is editing The Lost Sheep.

Stabbing Scenes

As well as the final fight scene, I met with Steve again to go over the moments where Alec kills votary members. Below is the videos of their development…

It’s interesting to see how it went from the original practice to the final edit. I feel that it has come across well on the film however it would be improved with more special effects  such as blood and throat scars. If we had the budget I would have shown more of the actual slash as although the motif is there in the scene and shots used, it would be a better spectacle aesthetically if we actually saw his throat get slashed – gore and all. Unfortunately I don’t have the budget to go back and film with these effects but I do feel that it came out well and that is a result of working hard with Steve Coleman. Together we thought about the motif of the slash, we figured out exactly how Alec would slash a man’s throat in the state that he is in. This took quite a few hours since we also thought about the best way to show all the emotions and the action in the best way. It changed on set however since Tinashe isn’t a trained actor it took some time to get him at a place where he was happy to proceed with shooting the scene. As seen in the video above we made sure that it was demonstrated to him before it was filmed so that he knew what he was doing. This was a tip taken from Michael Caines Masterclass on acting in film that I watched at the beginning of the module (CLICK THIS HYPERLINK to see blog post). He said that when doing stunts to always have it demonstrated for the actor first, therefore that is what I did. Ideally it would have been better to have a rehearsal with Tinashe during the script rehearsal of the film however he could not make it, this would have saved time on the set.