Issue link: http://digital.copcomm.com/i/1545081
After principal photography, I went to work for Hnedel (VFX) and the editors, helping to design the web- slinging sequences where The Spider would be played primarily by a CG character. This was a change of pace. We no longer needed shooting boards, now the boards would be cut directly into an animatic. So instead of four on a page, with scene descriptions and numbers, I was making animated flipbooks, each one comprised of dozens of single frames. It was challenging and fun to try and capture the movement and pace of The Spider as he cruised through canyons of buildings, soaring over rooftops and dodging under elevated train tracks. As a working storyboard artist, people often ask me what I think about the future and how AI is going to impact it. From my perspective, I don't see the most valuable part of the job I do as the pictures. If everyone knew what they wanted, they could type in cues and generate all the boards they needed. But what I see, in practice, is that filmmakers PREVIOUS PAGE THE BIG SHOWDOWN WITH MEGAWATT. THIS SEQUENCE WENT THROUGH MANY ITERATIONS, AS IT WAS CRUCIAL TO LAY DOWN THE GROUND RULES OF MEGAWATT'S ELECTRICAL POWERS. A. I WAS THRILLED TO GET TO COME UP WITH A CARTOON FOR THE DAILY BUGLE. B. & C. A SMALL BUT IMPORTANT SEQUENCE BETWEEN CAT AND SILVERMANE, USING LIGHT AND SHADOW TO CAPTURE THE NOIR MOOD. D. FRAMES FROM AN ANIMATIC SEQUENCE. THESE BOARDS WERE DONE IN POST, WORKING WITH OREN AND THE EDITORIAL TEAM TO BUILD THE BLUEPRINTS FOR THE SWINGING SCENES HNEDEL'S VFX TEAM WOULD DEVELOP. E. SPIDER-NOIR ROOFTOP PRODUCTION STILL. want to develop ideas, they want to explore and be able talk through concepts, they want to see options and have conversations. The process of discussing the scene and taking the time to walk through it, and breaking it down into frames, that's the value. The journey is the destination. ADG A B C