Space Gravity Previs



When the producer and director agrees that the performance in the previs is correct then we start placing virtual cameras into the scene and photographing the action and coverage. Shots get captured and cut together in a sequence.


We need to be able to make changes on the fly in real time for the director on the floor, The director can request changes and revisions and see them in real time as they happen. The power of keeping Assets light and manageable in order to keep the entire process in real time. Our artist understand the use of lens to be able to tell a story, with digital set in place and digital cameras the director has free range to experiment with.


Creative mind eyes are looking into the story, emotion and feel of the film. Another mind eyes are looking where the camera is at can this be filmed, how to film it and is this within the boundaries of reality.


Previsualization has become an important tool for forward-thinking directors. For example, David Fincher’s work with previsualization roughly parallels its rise from a visual effects planning tool to a key pre-production process linking the director, production designer and previsualization supervisor. In Fight Club, the director used previs to develop visual effects shots. Later, in Panic Room, he used previs to plan complex camera moves (as well as visual effects shots) on an intricate multi-level set. More and more directors are turning to previs specialists to capture their vision for the production and communicate it to the production team. Reliable 3D graphics software, increased graphics processing power and artist expertise have helped to encourage the growth of previsualization.


The single most important thing a team or supervisor needs to do on a daily basis is communicate, previs helps the process by putting in a visual medium. Departments can act as an information axis, driven by the director’s vision, tampered by the production and informed by all the different players in the room from visual effects to the art department to stunts and special effects.