Issue link: http://digital.copcomm.com/i/1332040
B o a r d i n g L o v e c r a f t B Y F R A N K F O R T E , S T O R Y B O A R D A R T I S T Storyboarding on Lovecraft Country was both fun and challenging for the storyboard artists as they got to tackle many special eff ects shots that included monsters called Shoggoths, alien invasions, hermaphrodite ghouls, abhorrent changelings and occultist rituals. Visual eff ects supervisor Kevin Blank and showrunner Misha Green would meet to defi ne the scope of the work and determine a plan for methodologies for the storyboards. In some cases, loose boards were needed and, in other cases, more specifi c boards were wanted as a precursor to previsualization. One of the directors described working on Lovecraft Country as boarding a fast-moving train. The schedules were tight and every episode had numerous special eff ects and visual eff ects shots that had to be imagined. There were as many as eight diff erent directors on the series and each one came with their own sensibilities and theories on how to visualize a scene. It was up to the storyboard artists to quickly adapt to a diff erent process with each new director. Many of the shots that needed storyboarding were the VFX shots that were headed up by Kevin Blank. Because many of the directors were working on other jobs before coming onboard Lovecraft Country, the storyboard artists worked with Kevin and the VFX team to visualize the scenes ahead of time. The VFX crew needed the boards to send out for bids and to discuss with the producers. Since many of the directors were not available to discuss the shots when the VFX team needed EP. 101 ALIEN ATTACK EP. 102 ARDHAM RITUAL EP. 102 ARDHAM COLLAPSES EP. 102 SHOGGOTH ATTACK EP. 101 ALIEN LANDING Storyboards by Frank Forte