DESIGN & ART DIRECTION FOR FILM
Treatments. Props. Graphics. Credit Sequences.
THE SERENGETI RULES
It started with a Wolf.
Emmy-winning director Nicolas Brown was in production on his feature documentary, The Serengeti Rules, when I was approached by natural history producer, Joe Loncraine.
He was looking for a photoshop artist to mock up this idea the team was brewing. They wanted to create images that could be erected around the world in various locations to visually explain the key message behind the film: ‘By re-introducing certain keystone predators back into their environments, we can reverse degradation and save entire eco-systems from biodiversity loss’.
The task was to capture a degraded landscape image of the Scottish highlands and lay into it, a billboard of a Wolf in a forest. It had to be scientifically accurate. It had to be to scale. The billboard itself once approved had to be repainted in photoshop to a high spec and printed out on 5m x 6m vinyl, then erected and filmed in real life on location by DOP Tim Cragg.
Before the film was finished I’d designed 8 billboards which were shot in various locations across the globe. I’d also created moving graphics to be projected live on a set, as well as a variety of physical props for the drama reconstructions. I realised then the power in the marriage of storytelling and design and have been combining these skills on productions ever since.
Moving graphic elements of original paper props, projected onto glass on set. A scrolling page of text, images and video.
THE LETTER
Design can also be used as a tool to aid productions in gaining difficult access, as well as physical props and the building of authentic mise-en-scene.
During the recce and shoot process for this feature film, I designed a wide variety of props and documents that both pepper the mise-en-scene and became instrumental in communication behind the scenes as well.
A book-like treatment was used to communicate characters and stories to the communications department at the Vatican. Several initial concepts for both the poster and an animated title sequence were created to later inform the GFX team.
Caught on camera, I also designed a Map for Greg Asner, that he later gifted to his holiness, Pope Francis during his trip to the Vatican City. I also created a wax seal, and the initial template letters that would become the framework the Vatican used for their invitations. These letters would go on to become integral to the opening credit sequence of the film.
For me, treatments are the beginning of the process. They are a visual window into the mind of the director and so much more than just a collection of initial research and potential stories and partners.
You can find examples of my past work here.