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6 2 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 2 2 The Conjuring: The Devil Made Me Do It (also known asThe Conjuring 3 is a supernatural horror filmdirected byMichael Chaves, with a screenplay byDavid Leslie ohnsonMcGoldrickfrom a story by ohnsonMcGoldrick andames an. The film serves as a sequel toThe Conjuring andThe Conjuring 2, and as the eighth installment inthe Conjuring niverse.Patrick ilsonandera Farmigareprise their roles asparanormal investigatorsand authorsEd and Lorraine arren, withRuairi O'Connor, Sarah Catherine ook and ulian illiard also starring. an andPeter Safranreturned to produce the film, which is based on thetrial of rne Cheyenne ohnson, a murder trial that took place in Connecticut, in addition toThe Devil in Connecticut, a book about the trial written by Gerald rittle. Storyboard artist ridget Shaw and I were brought in to address key reshoots after principal photography was completed. The studio had limited time and budget to get these reshoots done, so they needed precise previsualization storyboards so they could keep within the budget. Previsualization was a key tool in figuring out what was possible with the budget and time constraints on the production. In many instances, the boards were presented in production meetings so the director could assess what was necessary for key storytelling points. I used Storyboard Pro to create my storyboards because it made it easier to export animatic movies that the director could watch for timing. Storyboard Pro also allowed me to export a .pdf for distribution to production. ridget Shaw used an iPad Pro and Procreate. "I love working withFrank and ridget," explains director Michael Chaves. "They areboth artists andtrue filmmakers. I can draw a bit myself so when I work withthem, I treat the storyboard process as something more than ust planning shots. It really should be a chance to elevate each moment, each idea. Make it better, scarier. ick the tires on everything. othFrank and ridgetreally getthe genre and all my references, so I always feel like we work really fast together—which is great. I don't want concept art with storyboards—I want to feel the moment, the pace, all of it. On The Conjuring 3, there were a bunch of scenes where we'd ust act it out. Figuring out ways to make them scarier, more tense, more unexpected." "orking withdirectorMichael Chaves and fellow storyboard artist Frank Forte was a very cool and creative experience," explains storyboard artist ridget Shaw, "Michael did his own thumbnails, also known as director boards, for a number of scenes he also let mepitch ideas on ways to amp up the ump scares. Michael would ask for ouropinion on some sequences in postproduction as he knew Frank and I were coming into the proect with fresh eyes and were there to contribute our experience as storyboard artists and storytellers to the film. "I really enoyed working with director Michael Chaves because he gives a clear picture of what he wants but also allows for creative freedom. e A A. A DEMON POSSESSED. STORYBOARD DRAWING BY FRANK FORTE. PHOTOSHOP.