Major Project - Diary Room Storyboarding & Collaborating w/ Alex
Further Storyboarding & Working With Alex
As we are now following the schedule that George has put together as producer, I have set deadlines for specific storyboarding segments, allowing me to partition my workflow over the course of the production of 'DreamChaser'. This week I was required to produce a storyboard based on the diary room sequence shot-list provided to me by Alex. This was in time for Thursday's test shoot at Stephen's garage, the location in which we plan to shoot said sequences.
My process for generating the storyboards during this unit involves Alex as Director, sending me shot-lists for each scene as required, which I then interpret myself into the storyboarding, adding notes and other miscellaneous information that I believe may be important for other crew members to be aware of. From the storyboards, I then work with George during shoot days in order to successfully execute a shot-list ensuring we attain every possible 'money-shot' we had in our plan before leaving the shoot location. This is particularly important with our documentary as many of our locations will be unavailable to us for re-shoots following our first attempt, meaning we must maximise our preparation for the interview and racing segments in particular.
The diary room sequence storyboard can be viewed below:
As we are now following the schedule that George has put together as producer, I have set deadlines for specific storyboarding segments, allowing me to partition my workflow over the course of the production of 'DreamChaser'. This week I was required to produce a storyboard based on the diary room sequence shot-list provided to me by Alex. This was in time for Thursday's test shoot at Stephen's garage, the location in which we plan to shoot said sequences.
My process for generating the storyboards during this unit involves Alex as Director, sending me shot-lists for each scene as required, which I then interpret myself into the storyboarding, adding notes and other miscellaneous information that I believe may be important for other crew members to be aware of. From the storyboards, I then work with George during shoot days in order to successfully execute a shot-list ensuring we attain every possible 'money-shot' we had in our plan before leaving the shoot location. This is particularly important with our documentary as many of our locations will be unavailable to us for re-shoots following our first attempt, meaning we must maximise our preparation for the interview and racing segments in particular.
The diary room sequence storyboard can be viewed below:
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