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| '''Pre-visualization''' (also known as '''pre-vis''', '''pre vis''', '''pre viz''', '''pre-viz''', or '''animatics''') is a technique in which low-cost digital technology aids the ]. It involves using ] (usually ]), to create rough versions of the ]s in a movie sequence. Usually, this is only done for the more complex shots (] or ]s), as the benefits are fewer for simple scenes such as dialogues. The end result may or may not be edited and may or may not have temporary music and dialogue. Some can look like simple grey shapes representing the characters or elements in a scene, while other pre-vis can be sophisticated enough to look like a modern ]. | '''Pre-visualization''' (also known as '''pre-vis''', '''pre vis''', '''pre viz''', '''pre-viz''', or '''animatics''') is a technique in which low-cost digital technology aids the ]. It involves using ] (usually ]), to create rough versions of the ]s in a movie sequence. Usually, this is only done for the more complex shots (] or ]s), as the benefits are fewer for simple scenes such as dialogues. The end result may or may not be edited and may or may not have temporary music and dialogue. Some can look like simple grey shapes representing the characters or elements in a scene, while other pre-vis can be sophisticated enough to look like a modern ]. | ||
| Before desktop computers were widely available, pre-visualization was rare and crude, yet still effective. For example, ] of ] used toy ]s and a ] to film a miniature version of the '']'' speeder bike chase. This allowed the film's producers to see a rough version of the sequence before the costly full-scale production started. Very few people had heard of ] until the release of ]'s '']'' in the early 90's. It included revolutionary visual effects work by Industrial Light and Magic (winning them another ]), one of the few companies in the world at the time to use digital technology to create imagery. As a result, computer graphics lent themselves to the design process |
Before desktop computers were widely available, pre-visualization was rare and crude, yet still effective. For example, ] of ] used toy ]s and a ] to film a miniature version of the '']'' speeder bike chase. This allowed the film's producers to see a rough version of the sequence before the costly full-scale production started. Very few people had heard of ] until the release of ]'s '']'' in the early 90's. It included revolutionary visual effects work by Industrial Light and Magic (winning them another ]), one of the few companies in the world at the time to use digital technology to create imagery. As a result, computer graphics lent themselves to the design process. ], pre-visualized the '']''. This represented an early but significant change as it was the first time that pre-visualization artists reported to the film's ] rather than visual effects supervisor. | ||
| Since then, pre-visualization has become an essential tool for large scale film productions, and have been essential for movies such as The '']'', the '']'', the '']'', the '']'' series, '']'', etc. | Since then, pre-visualization has become an essential tool for large scale film productions, and have been essential for movies such as The '']'', the '']'', the '']'', the '']'' series, '']'', etc. | ||
Revision as of 19:10, 16 October 2006
Pre-visualization (also known as pre-vis, pre vis, pre viz, pre-viz, or animatics) is a technique in which low-cost digital technology aids the filmmaking process. It involves using computer graphics (usually 3D), to create rough versions of the shots in a movie sequence. Usually, this is only done for the more complex shots (visual effects or stunts), as the benefits are fewer for simple scenes such as dialogues. The end result may or may not be edited and may or may not have temporary music and dialogue. Some can look like simple grey shapes representing the characters or elements in a scene, while other pre-vis can be sophisticated enough to look like a modern video game.
Before desktop computers were widely available, pre-visualization was rare and crude, yet still effective. For example, Dennis Muren of Industrial Light and Magic used toy action figures and a lipstick camera to film a miniature version of the Return of the Jedi speeder bike chase. This allowed the film's producers to see a rough version of the sequence before the costly full-scale production started. Very few people had heard of 3D computer graphics until the release of Steven Spielberg's Jurassic Park in the early 90's. It included revolutionary visual effects work by Industrial Light and Magic (winning them another Oscar), one of the few companies in the world at the time to use digital technology to create imagery. As a result, computer graphics lent themselves to the design process. George Lucas, pre-visualized the Star Wars prequels. This represented an early but significant change as it was the first time that pre-visualization artists reported to the film's director rather than visual effects supervisor.
Since then, pre-visualization has become an essential tool for large scale film productions, and have been essential for movies such as The Star Wars prequels, the Matrix trilogy, the Lord of the Rings trilogy, the Mission: Impossible series, X-Men, etc.
While visual effects companies can offer pre-visualization services, today most studios hire separate companies. The most notable of these are Persistence of Vision Digital Entertainment, Halon Entertainment, Pixel Liberation Front, Proof, The Third Floor Inc., and Crack Creative.