Storyboarding, storyboarding, storyboarding. I’m spending a lot of time on trains at the moment, which have become my main place for drawing storyboards – no distractions apart from people looking over my shoulder to see what I’m doing, and a good couple of hours to concentrate. I do get a bit self-conscious if it’s a busy train though. Drawing isn’t the kind of thing you see on public transport and when I whip out the sketch pad and pencils you can tell people are wondering what you’re doing and if you’re drawing them…
I’ve finished a first pass at the vfx storyboards – these are always what I work on first as they’re the shots that are going to require the most pre-planning. Those have been sent off to vfx supervisor Max Dennison so he can start getting an idea of how I’d like to shoot those specific shots.
After that I’ve been plowing through the rest of the boards, which are now 90% finished. Once I’ve drawn them up on paper they’re then scanned and taken into photoshop, where I clean them up in photoshop and add in a bit of grey shading to help focus on what’s important in the shot. I prefer using grey marker pens – the less time spent in front of a computer screen the better, but the fumes are quite strong and you need somewhere near an open window – air conditioned trains don’t quite cut it! The worked up storyboards are then taken into inDesign, which is a page layout software where I start laying them out with additional text etc. The end result should be a basic blueprint of the scenes that anyone can follow without having to refer to the script.
Once the storyboards are done, then it’ll be on to more concept art and finishing off the graphics for the Kickstarter page and creating a set of animatics from the storyboards. A lot of work still go before we can press GO on the Kickstarter campaign…
Michelle’s continuing to work on the budget and getting quotes on studios, equipment etc. The budget is currently running a lot higher than we’d hoped – mainly due to the costs of the studio hire, so we’ll have to figure out a way of bringing that down.
A couple of weeks ago I met up with casting director Andrea Clarke, who’s now on-board the production. Andrea and I worked together on a spec tv-commercial a few years ago, so it’s good to be back working with her again. For the moment we’re going to hold off on casting, as we’ve yet to set a shoot date and it’ll be too difficult to lock actors down too far in advance.
In honor of his 125th birthday (and you never know, he might make an appearance – was Cool Air really fiction….?) the H.P. Lovecraft Film Festival will be screening its best short films of the past 20 years, of which Eel Girl is one:
NecronomiCon Providence 2015
FILM SCREENING SCHEDULE!
Note: ALL screenings are open to the General Public for $5 per person – which allows access to all following screenings at the same venue each day. Convention pass holders and guests get into all screenings for free, with the noted exception of the Dunwich Horror Picture Show on Sunday night. As with all convention programming, venues are limited seating capacity as determined by the Fire Marshall so all seats are first-come, first-served.
Please download the 2015 film poster here: Neconomicon_2015_films_poster_small
Many thanks to our friends at the H.P. Lovecraft Film Festival for their help and generosity in sharing with us some of the very best of their TWENTY years of submissions. Additional choruses of thanks to the Providence Public Library and AS220 for co-sponsoring these screenings, and helping us see them to fruition. Final, deepest thanks to all the generous filmmakers!
SCHEDULE at a GLANCE
Shorts Block Three: The HP Lovecraft Film Festival presents a “Best of” compilation of short films culled from its 20-year history. Weird horror classics abound!
Screening at AS220 Black Box:
Thursday 20 August – 10:30 pm at AS220 Black Box
Saturday 22 August – 2:30 pm at AS220 Black Box
Sunday 23 August – 6:30 pm at AS220 Black Box