Issue link: https://digital.copcomm.com/i/1495092
6 8 P E R S P E C T I V E | M A R C H / A P R I L 2 0 2 3 If you think about it; manufacturing a film requires a multitude of disciplines working together seamlessly in a very short period of time. The intricacy in which all these specialties must be accomplished in order to complete a movie is mind-boggling. After the screenplay is written, the funds to make the picture must be raised, which is no simple feat. Then there are the logistical details of actually assembling the movie that requires an enormous amount of technology and technological know-how. Finally, there is the essential and intricate umbrella of planning—making all the parts work together. All of this starts with the visual concept. Like the practice of filmmaking, the complexity of designing the visual concept demands much forethought and planning. Usually, this starts with a drawing. From the turn of the last century, Production Designers and directors have sketched and painted their ideas showing others how a set or movie might look. This traditional mode of artwork continues today. Most storyboards and concept art are drawn by hand; often with the aid of a computer. M a n a g i n g t h e C o m p l e x i t y o f M o v i e m a k i n g T H E D I G I T A L WAV E B Y G A R E C L I N E , I L L U S T R AT O R A. MOUSE GUARD TURTLE STRUCTURE. 3D MODEL RENDERED IN 2D AND COMPOSITED WITH 2D IMAGES. ILLUSTRATION BY MATTHEW CUNNINGHAM. A