David E. Duncan
Director, Art Director, Illustrator
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 & illustrator, matte painter, animation supervisor (traditional and digital), documentary cameraman and occasionally script consultant.
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. This 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. 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. In these cases, I've particularly enjoyed helping with plot 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.
Links and resumes here: