Issue link: https://digital.copcomm.com/i/1507937
which shots would be crane shots and how that would fit into the budget. The SFX boards allowed the team to prepare for the shoot and not waste time deciding on the shots once on set. Most of the shots were already decided but there was still room for improv as you can see from the board to shot comparisons. The Big Door Prize was a fun, exciting and challenging project to work on. As always, it's great to see the storyboards translated into a shot on the big or small screen. Some storyboards translate exactly to what was drawn, others are used as a template, and changed or altered on the day of the shoot depending on the environment and/or how the director wants to tackle the scene. ADG "But it's important not to let the boards get in the way of spontaneity—if a great shot falls into your lap—I'll always make sure we go for that one as well as the storyboard one," Declan says. "Often adding a second camera into the mix, and shooting stuff that's not on the board at the same time as you are shooting the boarded image is a great way of getting more interesting angles." In episode three, we had a scene where Trina goes up on the roof of Giorgio's Restaurant and smashes the "G" and the "I" in the illuminated sign to leave the word "orgio's." There was use of a crane and some practical light explosion effects that night, so they wanted everything to go smooth. The storyboards provided the producers with exactly MR. JOHNSON PERFORMING A MAGIC SEQUENCE WITH VFX BUTTERFLIES.