Issue link: https://digital.copcomm.com/i/1474575
S T O R Y B O A R D I N G T H E C O N J U R I N G 3 | P E R S P E C T I V E 6 3 S t o r y b o a r d i n g T h e C o n j u r i n g 3 C O N J U R I N G T H E H O R R O R 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 would go backandforth with shot compositions until we reached the best outcome. Even working within a limited budget and timeframe, we were able to create exciting and scary sequences. "Michael has an eye for storytelling, and I learned a lot from his directing style," continues ridget, "whether it be shooting in low angles to make things look morecinematic when possible or working loosely with blocking so that actors could make fluid choices on the day. Frank's background was usefulbecause a lot of animatics were created withour storyboards and he has a vast background in animation. It was fun to look over Frank's shoulder and compare notes on the different programs we were using to create our boards. "eworkedcloselywith the editing department and FX department, which was great because we got insight on what other departments do with our boards after they've been turned in. The FX team on this film was super talented and welcoming to both Frank and me. e had a lot of mutualrespect for each other's work. I always thought of FX and editors' obs as very technical, but at its core, we're all ust creatives working as one, trying to achieve the best result. It was really a treat to stop by the editing bays to hand off a batch of storyboards that I'd ust finished drawing and be able to see them working on rough cuts of sequenceswe'd drawn the day before." Storyboarding on The Conjuring: The Devil Made Me Do It was both fun and challenging for all involved. For an artist who is tasked with visualizing monsters, ghouls, occult rituals and gore scenes, nothing could be better. e are all hoping for another sequel where we can utilize our talents. ADG