sto­ry­board­ing

cap­ture the ac­tion with the dark knight’s Jim Cor­nish

ImagineFX: Sci-fi & Fantasy Art magazine - - Front Page -

When faced with a stack of script pages and a blank com­puter screen or sheet of pa­per, there’s al­ways that in­tim­i­dat­ing mo­ment when you won­der how on earth you’re go­ing to get started. It’s the be­gin­ning of a jour­ney, and each one is dif­fer­ent from the last!

Whether it’s a Bond movie with mul­ti­ple lo­ca­tions and stunt-driven ac­tion se­quences or a mu­si­cal such as

June 2015 Phantom of the Opera – a stu­dio-based op­er­atic drama where the vis­ual im­pact is para­mount and dia­logue is limited – the sto­ry­board artist’s tal­ent and skill are put to the test.

In re­al­ity, get­ting started is the eas­i­est part. It’s when you have the free­dom to put your ideas down, free from the in­evitable con­straints that in­flu­ence the se­quence as time goes on. A sto­ry­board artist is part direc­tor, designer, writer and cam­era­man, re­quired to be imag­i­na­tive and cre­ative and to think out­side the box. You’re di­rect­ing on pa­per, but ul­ti­mately you’re still just a pen­cil monkey.

From ini­tial script break­down to thumb­nails, rough drafts through to the fin­ished dis­trib­uted pages, in this work­shop I’ll aim to talk you through some of the steps, pro­cesses and considerations that present them­selves when sto­ry­board­ing for film.

Jim Cor­nish

Coun­try:

UK

Jim has been

cre­at­ing

sto­ry­boards

for the film

in­dus­try for

over 20 years, on such

block­buster ti­tles as

Harry Pot­ter, Christo­pher

Nolan’s Dark Knight films

and Sky­fall. He now lives

and works in the south-

east of Eng­land.

www.jim­cor­nish.com

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