Issue link: https://digital.copcomm.com/i/1490572
1 0 2 P E R S P E C T I V E | J A N U A R Y / F E B R U A R Y 2 0 2 3 "One of the things that was most exciting about moving from straight comedy to Marvel was access to the very best storyboard artists around. I got to work with a ton of people and then I narrowed it down to two artists who really shared my sensibilities, had a great background in understanding comic books and Marvel movies and were open to exploring the material and thinking outside of the box. "I start by having a detailed conversation with the board artist and cinematographer Florian Ballhaus about tone and references. In the case of Marvel, it's great to have artists who understand comic books and past MCU projects. "After the preliminary conversations, I begin breaking down scenes with my cinematographer. Once Florian and I have a shot list we send that off to the artist. Sometimes our shot lists are incredibly detailed with every transition, shot and blocking-move worked out. When we do this, we also include reference/location photos, photo boards, overhead diagrams and terrible sketches of our own. With artists like Aaron Sowd and Jeremy Simser, we begin to feel comfortable with sharing initial, looser plans that contain more of the overall feeling we want to capture because we know that they are filmmakers in their own right who will bring fantastic ideas to the table. Trusting them to play around and experiment STORYBOARDS FROM EPISODE 101, SCENES 36-40 BY AARON SOWD, DIRECTED BY KAT COIRO.