David E. Duncan
Director, Art Director, Illustrator
Directors Guild of America (DGA)
Art Directors Guild, Local 800 (ADG)
A life-long love of art, photography, theater and cinema has resulted in an eclectic career: feature and television 2nd unit director/cameraman, visual effects supervisor (digital and pre-digital), visual effects art director, storyboard artist, matte painter and animation supervisor (traditional and digital), documentary cameraman and occasionally script consultant.
Because of this varied background, many producers know me as the guy to call when they need someone to cover several related positions, which is not only creatively satisfying for me, but also efficient for the projects, saving time and money.
As a STORYBOARD ARTIST and ANIMATIC EDITOR / ANIMATOR, my experience as a director and cameraman enables me to design sequences that more closely resemble what can be shot and edited. My background as a draftsman allows me to create illustrations and elevations to a high degree of detail that construction can build from. Also, my on-set experience enables me to communicate effectively with directors and DPs concerning lens choices and production logistics. Credits in this capacity include: "Iron-Man 1&2," "Rise of the Planet of the Apes," and "Chronicles of Narnia: The Lion, the Witch, and the Wardrobe."
For episodic television, I've often worked as a STORYBOARD ARTIST and 2ND UNIT DIRECTOR / ON-SET VFX SUPERVISOR, keeping the showrunners' vision consistent throughout the season's various directors. In other words, I help each director design VFX and action sequences (many of whom lack experience with VFX or stunts), then help guide them through on set photography, also working as a splinter unit director to implement those storyboards. Who better to make sure the boards are shot correctly? Credits include: "Star Trek: Enterprise" UPN, "Dark Skies" NBC, "Space: Above and Beyond" FOX
Discovery, History and Travel Channel producers also know me as a "RE-CRE" DIRECTOR that can art direct my own location shoots. Oft times, spur of the moment art directing, usually due to low budget art departments being stretched thin. Also, I provide production and post with my own storyboards. Credits: "Dinosaur Revolution," "Mega-Beasts" Discovery Ch., "Prehistoric Predators" History Ch., "Got Home Alive" Travel Ch.
In several early development situations, I've been brought in as a VISUAL DESIGN CONSULTANT, only to find myself working more as a STORY / SCRIPT CONSULTANT, especially on certain "genre" projects where the clients are still working out ideas. Over the years, in addition to contributing script fixes and story ideas to a number of larger budget features and MOWs I've storyboarded or art directed, I've worked as a consultant on a number of produced screenplays where I've helped primarily with structure, problem solving, and character development.
Though I still often work as "only" a storyboard artist, animatic supervisor or illustrator, the majority of my work lately has been helping to create pitch materials for clients, where my experience as a visual artist and storyteller (directing and screenwriting) works hand in hand to help guide clients in developing their properties. In particular, I'm often contacted to help develop properties in the Sci-Fi, Fantasy or Historical genres, or design sequences involving all forms of aviation and aviation history.
Even though I find any one of these positions I've mentioned creatively satisfying, I'm most often at my best when I'm able to combine several of these skills into a single position... a situation that particularly benefits television and lower-budget productions tremendously. Please check out my resumes and reels to see a sampling of all the various work I've done over the past several decades...
Download my resumes here: