Issue link: http://digital.copcomm.com/i/1545081
After the session, I'd go back to my office and draw up the actual boards—I work digitally on a Wacom Cintiq 22, blueline pencil first, then digital inks—and if I needed to show something like Megawatt's electrical power or there was a lighting gag in the scene, I would add some shading. Once the director and DP were happy with the sequence, I would go over it with Freddy, the stunt coordinator. From the boards, he would create the stunt-vis (he shoots and edits his stunt crew acting out the scenes with boxes and wrestling mats) and once that was approved, I would go back and incorporate Freddy's work, which usually meant changing a few camera angles to make the stunts work and adding a few more action beats, into the final shooting boards. We filmed in Downtown Los Angeles, with exteriors on the Universal Backlot and interiors on the Sony stages. Often we were able to walk the sets as the shots were planned out. I would bring a yellow pad and sketch as the DP and director worked out the sequence. This was helpful, because it's great to able to be as accurate as possible with the boards. There was a lot to do, and sometimes they would ask Freddy and I to cook up a first pass of the action sequences. One time, we had the pleasure of demonstrating the big confrontation between The Spider and Megawatt for the entire crew. They watched as we pretended to web and electrocute each other in the middle of the Universal backlot. As an Illustrator, you think you're safe behind the desk, but sometimes you get pulled into the fray. A big part of the concept of the show was to merge these two genres—superhero and film noir detective. Between the two genres, a lot of elements line up—witty banter, high drama and cinematic visuals are hallmarks of both, so the challenge wasn't a clash of ideas, but really, how to accomplish it in the best way possible. Each episode presented new obstacles—within the overall challenge of capturing the scope of film noir-inspired 1930s New York with web- slinging spider stunts and superhero scale battles, A-D. THE SPIDER'S FIRST ENCOUNTER WITH MEGAWATT. DIGITAL SHADING WAS KEY IN SHOWING THE ELECTRICAL POWERS. E. MEGAWATT, THE ELECTRICAL ANTAGONIST WIELDING HIS AWESOME POWERS. PRODUCTION STILL. F. THE SHOT INTRODUCING BEN REILLY IN THE SPEAKEASY FOR THE FIRST TIME. HARRY BRADBEER HAD THIS LONG DOLLY SHOT IN HIS MIND FROM THE VERY BEGINNING. PRODUCTION STILL. G. & H.. ONE OF THE FIRST SCENES WE WORKED ON, MEETING BEN REILLY, 1930S PRIVATE DETECTIVE, AND HIS WORLD. A B