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Erik: How do concepting and storyboarding help you direct a shoot?
Lulu: You know, what we do is so visual. And it's very hard to convey, just something that's
in your head, you have to put down on paper. And whether it be something that you mock
up that's just purely a vision that you have or an idea or, you know, you pull inspiration
or swipe and I think it's easier to collaborate and have talking points, and to show what
you're trying to convey. It's very hard to be like, "Oh, I want the light to look like
this." You know, you start talking and it's also what you're expressing verbally may be
totally different in somebody else's head, or if their perception of, you know, it's
like telephone, except that, you know, you're there in person and then it could just become
a hot mess. Yeah, I think that it's really important to have specific examples, so that
everyone can understand exactly what you're thinking.
Erik: And is that more of an individual task or is it a collective task?
Lulu: So, it can be both. You can work on it by yourself. But ultimately, in my past
experiences, you've had to present it and there's checks and balances. So you talk to
your creative director about it or other people on the team, just to make sure that everybody's
in sync and on the same page.
Erik: And is there a sign off process?
Lulu: Sometimes. Yes. You know, it depends on how elaborate the shoot is.
Erik: And how does that work?
Lulu: Well, you present your ideas, and they say, yes or no. Or, you know, they might say
that we like this aspect, maybe we should explore this direction a bit more or, you
know, this chair looks a little funny, like maybe we should get some more options or I
think that's just, you know... off top with my head but, yeah, it's definitely a collaboration.