STORYBOARDS

 

TEMPLATE BARASHEVO VERA AND OLGA EXT CAMP 1 2 3 4 5 6 7 8  FLAT  ARROW TEMPLATE BARASHEVO VERA VS COMMISSAR 4 5 6 7 8 9 10 11DDSD ARROW TEMPLATE BARASHEVO VLAD CAMP 1 EXT 2 FLAT  ARROW TEMPLATE BARASHEVO VLAD INT RESEARCH LIBRARY 1 23456 9 FLAT  ARROWSTORYBOARDS

Animated GULAG BARASHEVO storyboard book

 TEMPLATE- tTRAIN- ARROW 2 TEMPLATE-gulag work forest and march 2 -ARROW 2 GULAG BARASHEVO - MASS GRAVE 12345688 -ARROWS GULAG BARASHEVO - BURIAL IN TUNDRA LARA 2 - ARROWS TEMPLATE-SUICIDE-49 DEEBATE 2- de-sat -ARROW 2 TEMPLATE-SUICIDE-44 DEEBATE - ARROWS

STORYBOARDS

Hand drawn by the Director himself, Michael Kingsbury, these Storyboards are essential to bringing a vision to life in front of the camera, the framing, the angles to both carry the visual texture of the film and the narrative with a cohesive creative process that binds the visuals of the framing of the film with the intrinsic storyline. Michael has always storyboarded his own films and served as the Director of Photography. The visual storytelling process is very close to Michael’s heart and spirit.

Powerful iconographic images are created which frame major scenes in the viewers mind and bind the story to the viewers very soul.

MARRIAGE BARASDEHVO template wood cutting6

MARRIAGE BARASDEHVO template Gulag Camp3

MARRIAGE BARASDEHVO 5 ARROW

GULAG BARASHEVO -  POETRY - LOVERS - ARROWS

Storyboards are a critical part of the process to create visualization of the movie for the investors, producers, crew and actors.

STBY Barashevo 1b

STBY Barashevo 2b

 

GULAG BARASHEVO STBY JUL 13GULAG BARASEHVO STBY JUL 13 CATTLE CAR EXTG

Rusalka+Forest 4

Gulag_storyboard_1

Gulag_Storyboard_3

Gulag_Storyboard_2

Gulag_Storyboard_3

Gulag Vorkuta - Stby. pg17C

Our visual framing, engaging, changes with the dramtic literary narrative as the film progresses.  In this way we become viscerally and spatially attached to the film, not just viewers, but part of the drama.

 

Visual Grammar

The visual grammar changes, and new visual grammars are brought in during the change in the film, so that when the character changes their inner psychology, we are changing in our thinking, in how we see the character’s world. Using perspective, 3d space, time, depth, we get into the mind and sould of the character — that makes us part of them. Carrying on and advancing Tarkovsky’s push for 3d film sculpture, this is much tighter engagement in the focus, change and perspective of the character.

 

Changing Visual Frame

This is not a mechanical camera roll, or a Dutch angle set up. No, this is a fluid changing camera effect from post based on notes from the cinematography and director production-set script notes. So that we never notice “okay this is an effect, cool, nice” for effect sake. No, this is completely Mastered visually and integrated with the complete character change of the dramaturgy.

 

Set Construction

Set construction 3D animation of Gulag camp.

 

 

3D CGI VFX of Gulag Camps

 

A Drawing 5

Angel of War_2_oil on wood

AAA  BARASHEVO - ART PHOTOGRAPHY  STUDIO ANGELS-2 ART GALLERY 2A ART GALLERY 1-A AAA  BARASHEVO -DRAWING FEMALE FLAT FULL -3 ART PHOTOGRAPHY GREEN GIRL-2 ART PHOTOGRAPHY  HEAD-2 AAA  BARASHEVO - AMERITECH MURAL CANVAS BORCHURE PAINTING-3 FIGURE DRAWING MALE -4

 

Black chalk on paper, oil on wood, oil on canvas, clay/plaster, Cibachrome. All art by Michael Kingsbury.

EXHIBITIONS

Union Carbide building, NYC

Fanueil Hall, Boston

United Center, Chicago

Artemesia gallery, Chicago

Hasel-Haesler gallery, Denver

Aspen Art Gallery, Aspen