Storytelling evolves in storyboard art, and conceptual art evolves in concept art.
Founder & CEO VFXMAGAZINE
Concept Artist & Developer
At first look, they are two different branches, but they are parallel. But the thin and strong line between these parallels does not appear by accident. First of all, this is the result of progress.
No, not in the art but in the market of mass media. Nowadays projects become more optional. If we go back to the original Lost in Space 1965 and Alf 1980 TV show and follow back to Lost in Space in nowadays, we will see the giant leap. We live in a time when TV shows can have the same production quality and budget as a world blockbuster, and some even go further.
Come back to art and we could draw strong dependencies based on this evolution. Increasing quality, in many cases, means an increasing budget. The more budget we spend, the less percent we can get from rent. But to contain any unreasonable spending was found to be the ideal solution, the method.
Lost in the Space 2018
Lost in the Space 1965
Lost in the Space 2018
The new method is the union parallels of concept art and storyboard art into one direction, one task. Mostly it is not advertised, and mostly it becomes accepted as a part of the process. Combining two different parallels, it is a unique phenomenon of how ideally managed this process is.
The process comes with minimal damage to both sides like managers and artists. Under this direction, artists get creative freedom and are not limited to a specific direction.
More over, you could see how theory work in action on examples of real artworks such artists as Jama Jurabaev and Dennis Chan who worked on famous films KONG Skull Island and OVERLORD and finalize many storyboarding conceptual shots in perfect production quality.
Artist: Alexander Izmaylov ConceptStoryboard: Aliens the Dark Words of the Covenant
Artist: Jama Jurabaev ConceptStoryboard: OVERLORD
Artist: Dennis Chan ConceptStoryboard: KONG Skull Island
These changes bring the new vision into the filming process. And now artists can closely work on the final shot while saving time and not dividing their attention between additional communications, compromises, and directions with artists on a parallel line.
The specific shot that might even be only five seconds will be polished in several different variations for the director to accept it. If all goes well it will save time and budget and will boost the efficiency of the production process. In today’s terms, concept art will continue to evolve, and storyboard art almost completely will be integrated with it.
That will depend on the strategy of management. And as always, a new tool will give new advantages and market opportunities.