Issue link: https://digital.copcomm.com/i/1529668
4 6 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 4 Bridget Shaw, Storyboard Artist I storyboarded the rodeo and hotel pool scenes in the film. My tools of choice were Procreate on iPad Pro with Apple pencil. These were really physical scenes with the actors running, jumping and crawling. When I started drawing the hotel scenes, the location had not yet been picked out, and no set renderings were available to me at that point. I had to go off a verbal description from director Lee Isaac Chung of the kind of motel he was envisioning for the scene. It was challenging to establish screen direction for multiple characters in the scene before we had an actual location. The scene would ultimately evolve and transform when the location was picked and set builds were added onto it. This meant many storyboarded versions were turned in, and changes would happen weekly, as I got new information. Eventually, I was able to review SketchUp models of the sets and storyboard action and blocking based off of those. It was imperative that I got the latest models and renderings from the Art Department so I could orient the scene, true to how they planned to shoot it; knowing what direction the characters would run in to escape the tornado. In the film the two leads, Tyler and Kate, have an intimate conversation in the stands of a local rodeo. The director wanted a good amount of rodeo action shown during their conversation to immerse them in the environment. Showing their surroundings before a major tornado hits was important for the scene and the overall story. The camera cuts from them to the rodeo frequently. I had to do a lot of visual research on what types of acts and animals perform at a rodeo, since I don't have much firsthand experience with these events. The director did dictate certain things he wanted to see such as bull riders, horses and rodeo clown acts. In drawing any scene with an active tornado, there was an added layer (literally) of debris always swirling around in each frame. It's details like this that kept me thinking about the motion in the scene, not just from the camera and characters, but from the environment itself. STORYBOARDS BY BRIDGET SHAW A. MOTEL POOL SEQUENCE. A