Introduction to Previs
Taught by Clint Reagan
- Course Number:
- Software Version:
- Original Run Date:
- July 2013
- 7 hours 50 minutes
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.
Class 1What 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?
Class 2Previz tools and software. Getting the previz pipeline ready. Previz production quality and pace.
Class 3Previz 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.
Class 4A 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.
Class 5Shot 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.
Class 6Working on story frames, finding compositions that tell the story and preventing screen direction mistakes.
Class 7Performance: Prepping for animation. Keyframe vs MoCap pros and cons and the animation processes behind each.
Class 8Cinematography, the Shoot: Getting the shot and guiding the eye to create visual interest and add meaning.
Class 9The PreViz Edit. Editing your scenes and revising shots, shot output and delivering a cut.
Class 10The tech breakdown.