We'll begin with an overall look at the industry, beginning with what we mean by previsualization and how it relates to pitchvis, postvis, and virtual cinematography. This course will concentrate on previs as a production-side tool for creative storytelling, working with the director to flush out ideas before filming. For the second half of the course Clint will work through a sample project, demonstrating the tools and techniques he uses on the job for his projects.
By the end of the course, members will be armed with a solid knowledge of previs, including key workflow and tools to get the job done. Even if you're not looking towards a career specifically in previs, many of the principles can be used on projects to help explore creative possibilities as well as speed up the finishing process.
With more than 10 years of experience in the field, Clint recently supervised previs for Ridley Scott’s Prometheus, as well as the blockbuster adaptation of The Hunger Games, directed by Gary Ross. Reagan’s other films included McG’s This Means War, G.I. Joe: The Rise of Cobra with Steven Sommers, and Knight and Day and The Wolverine for James Mangold. Clint recently wrapped on two tent pole films due out in 2013 and 2014, respectively. He is currently supervising on a fun-filled 2014 film.
What are the goals of Previz? Who are the players that are involved with previz in a production? What types of Previsualization are there and when are they used? When to storyboard and when to previz?
Previz tools and software. Getting the previz pipeline ready. Previz production quality and pace.
Previz software discussion. Previz folder structure prep. Editorial template prep in Adobe Premiere. The previz team: supervisor, lead artist, previz artist and junior artist roles and responsibilities. Dome animatic for upcoming previz efforts.
A brief look at the asset build. Preparing the scene for blocking. Breaking down the scene with goals and beat sheet. Scene blocking with Shot Designer and chess piece blocking.
Shot camera setup starting with review of how film back and focal length of lenses affects images. Camera matte, movement, and rotation order. Finding the line to the scene to prep for shooting. Choosing story frames on beatsheet.
Working on story frames, finding compositions that tell the story and preventing screen direction mistakes.
Performance: Prepping for animation. Keyframe vs MoCap pros and cons and the animation processes behind each.
Cinematography, the Shoot: Getting the shot and guiding the eye to create visual interest and add meaning.
The PreViz Edit. Editing your scenes and revising shots, shot output and delivering a cut.
The tech breakdown.
This course aims to give members a solid base as to what previsualisation is, as well as the tools and workflows used to create previs for feature films and commercials. Taught by Clint Reagan, the course is a combination of interview/lecture-style classes as well as application-based classes that will take members through the previs workflow.