Black Sails – Director: Lukas Ettlin

Unusually, I was taken on to storyboard certain parts of the first episode of Black Sails before the first director had arrived, the intention being to establish the parameters of what was feasible to shoot ‘in camera’, and what would be allocated to cgi. Despite these not being ‘shooting boards’, it gave me the valued opportunity to work directly with the brilliant Production Designer Wolf Kroeger and Producer Chris Symes, and from there to handle all the storyboarding required for the full four seasons, working with, amongst others, block Directors Steve Boyum, Alik Sakharov and for this dramatic storm sequence from Series 3, Lukas Ettlin.

Strike Back

Being on recce with director Alex Holmes proved the best way to understand the geography of a remote railway siding, the site of a pivitol shoot-out sequence.
‘We wouldn’t get this far’ says our military advisor, deadpan, adding ‘we would have been wiped out by the sniper in the water tower’.
‘What water tower?’
‘That one’ he says, pointing back over his shoulder to a tower some half a kilometer away. Sometimes it pays to have an expert on board.

Black Mirror – Director: Anne Sewitsky

Hooten & The Lady

Briefing sessions with block directors Colin Teague, Justin Molotnikov, Daniel O’Hara and Julian Holmes were always something to look forward to on Hooten and the Lady, covering storylines from Amazonian jungle to Moscow underground via the Himalayas. It was, well,…a hoot!.

America: The Story of the US

History Channel series are characterized by cost-effective action sequences. For instance, the Battle of the Alamo, directed by Andrew Chater involved no more than two or three featured actors, five extras and five stuntmen. To achieve this requires careful planning, and the storyboard anchors design, geography, lensing and action into a believable close-quarter visual narrative. Spoiler: Davy Crockett gets it in the end…