In contrast with the collaboration I did with David - the collaboration I did with Becky was drastically different. Although working with David wasn't immediately smooth, we managed to sort out our working patterns a lot more and the end storyboards turned out okay. David had scripts, design sheets, set layouts - and although they weren't perfect, they were at least there. Most - if not all of the work i've done for Becky has been done blind.
For contrast - this is the script david gave me to work with:
About 39 pages, broken down into scenes. Its not the most clearly formatted script i've ever read, but it's definitely at the very least there.
This is the script that becky gave me to work out from:
No formatting. No formal document - with dialogue, or anything. Just the story, copy and pasted into facebook and sent over on a message.
Realistically at this point I shouldn't have taken on the brief. If I was working with an actual client, I would not have accepted this brief, if this was all I was provided with for a script.
However, because I didn't want to let her down (and also I am a MUG) - I said i'd try to sort something out for her. Aside from the Storyboard - she also wanted me to help her out and do some concept art/set design for her as well. I had agreed, because I wanted to expand this area of my practice anyway - and she also actually had some degree of research for that (even though it was just a pinterest board of images)
Becky wanted 3 set designs doing - which I said would be absolutely too much for me to do on top of her storyboards, so I agreed to take on one - the exterior castle set.
Unfortunately, you can't make widgets of other people's boards (to my knowledge) so this is the Pinterest board with all of becky's set research on. She wanted something inspired a lot by gothic castle designs - really creepy and spooky. She was also looking heavily at the set design film companies like LAIKA use for their films - 'Coraline', 'Paranorman' and 'The Boxtrolls', so I looked to these as contextual references.
This was the first castle I came up with, drawn from her research. She liked the old decrepitness of it, but she said that she wanted it to look more spindly and gothic, so this is what I came up with next:
I wanted to try and keep it as simple as I could, whilst still having the looks she was wanting because all of this had to be built physically. She really liked this, so I went away and compiled the rest of the set design as a document that she could give to Elliot Gascoine, who was going to build her sets for her.
I've built 3D work before, but not on the scale of a set. I've seen the base she intended to build her set on, but I didn't have any concrete measurements from her other than the fact that the long side was about 2 metres long. I tried plan the scale of all the drawings to this.
I don't think this is the best design document i've ever produced but most importantly is that it's thorough, and you could give it to someone to build something cohesive from it. In contrast - this is what I was provided by her to plot the storyboards for the other two sets:
They're nice little concept images - but? no space? or concept of layout? really? Either way - I took all of these sets and tried my best to plot some storyboards for her.
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