TWENTYTWENTYTHREE
Better get down to brass tacks I suppose!
The start of another year. Terrifying isn’t it? What awaits us? Time will tell I have no doubt. Hello new readers! Thanks for subscribing! I love you at arms length!
January is exciting for me as I’m off to Manchester, for a few days of gruelling editing on my feature film with co-producer Ryd Cook (Happy Birthday). I thought it would be cool to share some of the storyboards for Hard Edges as 1) this is something I’d actively like to pursue this year for £££, and 2) I storyboarded about 95% of the film so there’s lots to share! So check those out below.
IT’S DILDO TIME
The Dildo’s first outing continues. Still getting to grips with my workflow/system. Hopefully that will speed up as I progress. Not worrying about it too much and throwing it on here for you readers is a good incentive to keep moving forward. I appreciate your viewerage!
I was late putting this out because I had the bright idea about doing all the grey areas as halftone dots. Turns out they look really janky on here depending on what device you view from. So I backtracked and went with the old solid grey. “Who cares?! Get on with it!” I hear you cry! Quite right.
Here’s the first page again to keep the flow and because I tweaked it. I like that you’re getting to see this as it comes. I’ll keep cranking them out! More to come in the next post!
I feel like I’m starting to dial in how to do water and a man sealed in shiny silicone, but I’ll keep on at it. Someone told me they liked seeing the process stuff so here’s more of that;
STORYBOARDS!
Making movies, especially on the minuscule scale that we did, is a non-stop barrage of problems that need solving. So for me pre-visualising what you want to happen in front of the camera as clearly as possible beforehand is a must. Not everyone works that way. I’ve no beef with that. Doing stuff in the moment is just as valid. It’s whatever works best for you.
I did these in more tonal detail because I was trying to figure out how you light people on a stake-out in a dark car park. I sketched still frames from The French Connection (which is full of them) for reference. Often people are described by their silhouettes and the dark cars are described by the glints of street lights etc. So that’s what we did!
Storyboards are handy if you need to quickly explain complicated setups/angles, and it can allow you more time (rarely) to play and add things like the sick edge light on Johnboy’s face in the image above! Thanks to my buddy Tommy Martin of InCamera for the lighting and having us at his studio!
Here’s three confusingly different tracks that wont get out of my head at present. I don’t mind it in the daytime but leave off at 5am, yeah?
I hope I’m showing you stuff you want to see? I love hearing what people have to say. Even if it’s to correct me! If you’re digging it, why not recommend this to someone else? If you’re on instagram you can follow me there too!
Right. That’s all for now. Ta ta!
Carl