Issue link: http://digital.copcomm.com/i/1260764
B C get a last-minute reuest to re-storyboard some scenes that were about to shoot. Often this came about due to updates or revisions in the scripts, the sets or the action. The challenge for us then, was to quickly convey the meaning of that scene, making the scene achievable with fewer, but more accurate shots. The pace of shooting the series, and the huge, overlapping storyboard workload is something the team and I will never forget. Storyboarding eight episodes with five different directors, we amassed well over three hundred minutes of movie-uality screen timewe had drawn the euivalent of over two-and a-half movies in less than a year! As difficult and demanding as making a movie is, it's a great feeling when you just know you've got a hit. Jon Favreau's The Mandalorian was one of those shows. When the series aired, it became the Disney+ crown jewel, and a worldwide phenomenon. The show instantly secured its place as a landmark in the Star Wars universe. The storyboard team, and indeed the entire 'Mando' crew, were immensely proud of what we'd made. Being a part of creating The Mandalorian was a classic storyboarding adventure. ADG Andrew L. Jones Production Designer Michael Manson, Supervising Art Director Jeff Wisniewski, John Lord Booth III, Sarah Delucchi, Art Directors Sarah Forrest, David Chow, Mike Stassi, Julien Pougnier, David Moreau, Set Designers Michael Epstein, Graphic Artist Seth Engstrom, Fabian Lacey, Manuel Plank- Jorge, Concept Artists Jason Mahakian, Model Maker Dave Lowery, David Duncan, Phillip Norwood, Storyboard Artists Amanda Serino, Set Decorator