#### Contents - [[#Introduction: Planning the Frame|Introduction: Planning the Frame]] - [[#Three Key Areas|Three Key Areas]] - [[#Three Key Areas#Area 1: Sequential Visualisation|Area 1: Sequential Visualisation]] - [[#Three Key Areas#Area 2: Aesthetic Visualisation|Area 2: Aesthetic Visualisation]] - [[#Area 2: Aesthetic Visualisation#Concept Art|Concept Art]] - [[#Area 2: Aesthetic Visualisation#Reference Imagery and Scouting|Reference Imagery and Scouting]] - [[#Area 2: Aesthetic Visualisation#Look Development|Look Development]] - [[#Three Key Areas#Area 3: Performance Visualisation|Area 3: Performance Visualisation]] - [[#Area 3: Performance Visualisation#Rehearsal & Camera Rehearsal|Rehearsal & Camera Rehearsal]] - [[#Area 3: Performance Visualisation#Digital Performance Capture|Digital Performance Capture]] - [[#Area 3: Performance Visualisation#Stuntviz|Stuntviz]] - [[#Area 3: Performance Visualisation#Techviz|Techviz]] - [[#Digital Previs: Where is it **not** necessary?|Digital Previs: Where is it **not** necessary?]] - [[#Digital Previs: Where is it **not** necessary?#Strong text|Strong text]] - [[#Digital Previs: Where is it **not** necessary?#Visual language|Visual language]] - [[#Digital Previs: Where is it **not** necessary?#Acting and performance|Acting and performance]] - [[#Digital Previs: Where is it **not** necessary?#Other film examples|Other film examples]] - [[#Conclusion|Conclusion]] - [[#Conclusion#Key findings|Key findings]] --- ## Introduction: Planning the Frame Previsualisation has fundamentally reshaped workflows in film and television, particularly over the last two decades.  *Final frame and previz frame. LOKI, Season 2, Disney+. Copyright The Walt Disney Company. Originally posted to X by [Framestore](https://x.com/Framestore/status/1776181118753968534/photo/1)* Modern studios, especially those tackling complex visual effects ([VFX](Glossary.md#VFX%20(Visual%20Effects))), can build out entire sequences digitally, before actors or even creatives see a script. [^1] This practice, evolving from traditional techniques like [Storyboarding](Glossary.md#Storyboard), became industry standard for VFX-heavy features from the late 2000s onwards. This generally crystallizes around **three key areas** of planning for the final frame, where high levels of communication and certainty are needed. ## Three Key Areas *The terms below are the author's own invention, to relate these concepts to the reader without jargon.* ### Area 1: Sequential Visualisation Visual flow is crucial to a motion picture. Historically, filmmakers employed **storyboards** as a visual blueprint- for scenes where camera composition was paramount- or for entire projects. Whole films like *Gone With The Wind* (1939) were meticulously storyboarded by artists ahead of time, mapping out key shots and sequences [^2]. There are many instances where this is not the case, and key changes are often made on set, and in during editing. This process will be familiar to theatre makers, and can be seen in a larger sense to reflect the inherited nature of theatre techniques into the production of motion pictures in the early 20th century[^3].  *Storyboards for a web cartoon.* With the advent of digital technology and CGI, the [Animatic](Glossary.md#Animatic) emerged as an intermediate step. This involves sequencing sketches, 'scratch' visuals, or rudimentary 3D animation over dialogue recordings, music, and sound effects, making timing, pacing, and tone more explicit before production begins. [^4][^5] Today, the Animatic, often enhanced with sophisticated 3D assets, forms the basis of what is broadly termed 'Previz' in film and television. Marvel Studios, for example, pioneered its extensive use in films that combine live action talent with CGI. For *Avengers: Endgame* (2019), visualization studio The Third Floor created over 7,300 previs shots, beginning years before filming [^6][^7], covering not only massive action set pieces, moment but also quieter, emotional scenes[^7]. Such detailed planning, sometimes matching final shot composition and timing almost frame-for-frame, became indispensable for managing the complexity and scale of modern blockbusters: effectively creating the 'film before the film'. ### Area 2: Aesthetic Visualisation Defining the look and feel of a production can involve several layers of pre-planning. #### Concept Art Detailed [concept art](Glossary.md#Concept%20Art) created using traditional or digital media, remains vital for department signoff. Films like *The Lord Of The Rings* trilogy famously used extensive, detailed concept art as common visual references for directors and department heads. The image-focused nature of film & TV, with the capability for extreme close ups- not to mention the enormous budgets of these productions, mean that concept art can go beyond the level of detail and quality seen in most theatrical production.  *Concept art for Star Wars.* #### Reference Imagery and Scouting **Location Scouting**[^8] informs decisions about shooting environments, while collected **reference imagery** and **mood boards** help communicate overall aesthetic goals. #### Look Development In modern digital workflows, **Look Development (LookDev)**[^9] or **Visual Development (VizDev)** specifically refers to pre-visualising the final **aesthetics**. Originating in animation, this practice involves defining how the interplay of physical elements (sets, costumes, lighting) and digital factors (camera properties, colour grading, VFX) will create the desired final image. ### Area 3: Performance Visualisation This aspect focuses on planning actor movement and action. #### Rehearsal & Camera Rehearsal Essential for refining performances and blocking, especially in relation to planned camera movements. #### Digital Performance Capture Used in advanced previs or virtual production to drive digital characters or plan complex interactions before filming on set. #### Stuntviz Specialized stunt teams create detailed [stuntviz](Glossary.md#Stuntviz)[^10], choreographing complex action sequences involving performers, doubles, vehicles, and camera moves, ensuring safety and visual coherence. #### Techviz For highly technical shots, detailed [techviz](Glossary.md#Techvis%20(Technical%20Previsualization)) mock-ups, often accurate to real locations and equipment specs, are created during previsualisation to precisely plan camera placements, lens choices, and movements[^7]. ---  *Previsualisation for Hollywood blockbusters frequently features rudimentary graphics.* ## Digital Previs: Where is it **not** necessary? While powerful, extensive digital previs isn't always necessary or desirable[^21]. It delivers most value when taming complexity, especially in VFX-heavy or logistically challenging productions. Previsualisation is typically much less of a staple In highly performance focused or **drama films**, for example, due to budget constraints and genre focus. Filmmakers here often rely on traditional **storyboards** or detailed **shot lists** for key moments [^11]. The emphasis on character, dialogue, and emotional nuance in these areas often reduces the need for complex visual planning seen in action blockbusters. Conversely, highly technical indie filmmakers have sworn be creating their own animatic previs in free software like Blender- like Colin Levy[^12], or David F. Sandberg[^13]. To take an example of a drama motion picture which is made used with no digital means whatsoever in the modern era, we could take *Moonlight* (2016) [^14]. At a budget of $1.5m, it could be said that it relied on the expertise of its creators for its visual planning and execution. The low budget, and simplicity of execution (filmed on location, small-scale, kitchen-sink drama parameters), likely allowed it to fly under the radar of huge studio interference. It has been documented that producers were present on-set at critical moments. Let's jump through a few more points in detail: ### Strong text - Moonlight was based on a play co-written by the screenwriter, so had a solid textual basis and competent story control behind the scenes, putting production on the front foot. >"Jenkins and Tarell Alvin McCraney, who wrote the play on which the movie is based, both grew up there in the same part of Liberty City, Miami" ### Visual language - Highly specific, visceral memories of real locations formed inspiration for the film's visuals. Historical truths factor into meaningful choices behind the imagery.  > “Cinema is a little over 100 years old, and a lot of what we do is built around film emulsion. Those things were calibrated for white skin. We’ve always placed powder on skin to dull the light. But my memory of growing up in Miami is this moist, beautiful black skin. So we used oil. I wanted everyone’s skin to have a sheen to reflect my memory.” > "While trying to establish texture of the place, Laxton spent eight weeks studying the light and the humidity of the location." ### Acting and performance - Behind the scenes text and video indicates an extensive and intentional rehearsal process. Moonlight's key story beats come from the performances of actors on location- which would prove impractical to plan for using anything other than traditional means of character development, direction and rehearsal. - The picture was shot using over-the shoulder and other traditional camera operation techniques, capable of reactivity to actors' performance, becoming story voices in themselves.[^19] The film makes use of anamorphic lenses, imperfections, flares and racking focus. > "While filming a scene ... a big part of my job is listening, watching, reacting, and feeling, hopefully, what {the actors} are presenting, as well. The way the camera moves, how wide, tight, or which lenses are chosen, all of those choices speak to emotion, tone. Perspective comes from where you place to camera and how quickly you follow."[^20][^11] > James Laxton, DOP, Moonlight >"I try to not intellectualise. I describe it as chopping wood. Filmmaking to me, it's a very blue-collar art form. There are all these cameras and all these people, so much going on, that if you start to think of it in thematic terms, you cannot see the trees for the forest. You can't do the work." >- Barry Jenkins, Director, Moonlight ### Other film examples The improv-heavy films of directors like Adam McKay (*Anchorman*) involve capturing vast amounts of performance footage and 'finding the film' in the edit [^15], with planning constraints to allow this. The production process of critically acclaimed films like *Nosferatu* (2024) [^16] or *Blade Runner 2049* (2017) [^17], underscore the enduring power of traditional production - and the powerful vision of master filmmakers. ## Conclusion The deep integration of previs in modern blockbusters, while enabling immense scale and complex sequences, has also sparked debate as to its limitations. Extensive pre-planning, sometimes starting years before directors are fully involved[^7], raises concerns about potentially diminishing the director's on-set creative authority. Present previsualisation techniques make sense to justify huge, high-budget decisions and communicate them on a large scale. Film technology will continue to evolve: this story is far from over. Universally, the key seems to lie in judicious application- picking the right tool for the job. Previsualisation offers incredible benefits for planning and communication, but allowing space for creative discovery throughout the filmmaking process may lead to a better product depending on the specifics, and skillsets of the individuals on the team. As technology becomes easier to use, we may see more directors use 3D previsualisation to communicate their personal ideas, without needing to rely on large external contractors. ### Key findings - Highly technical productions benefit from simulating the all elements together beforehand, for clarity - These tools have enabled smaller film directors (who are technically-minded) to pitch their ideas, clearly communicating vision to all departments even in larger productions (David F. Sandberg's journey exemplifies this, and is well documented) - Previs is the map, not the territory, even in screen-based media. Traditional methods reign supreme for certain decisions that concern fine detail imagery and subtle performance - Regardless, previsualisation shows immense utility in planning and orchestration of large technical sequences involving multiple departments, including producer sign off. The technology will only improve over time ## Next Article: Architecture [>](2.%20Architecture.md) Explore further nuance on this topic[^18] or move on to explore previsualisation in [2. Architecture](2.%20Architecture.md). --- [^1]: This article focuses on narrative production in film and television, where visual language and production techniques of the two industries have been converging in recent times. [^2]: See analysis of *Gone With The Wind*'s storyboards: [Composition in Popular Romance: Gone With the Wind's Storyboards](https://viz.dwrl.utexas.edu/old/content/composition-popular-romance-gone-winds-storyboards.html) [^3]: Please see eppendix [Theatrical Foundations of Film and Television Production](Theatrical%20Foundations%20of%20Film%20and%20Television%20Production.md) [^4]: <iframe width="560" height="315" src="https://www.youtube.com/embed/IHrZYk1Pi9k?si=XtQzZd2k7VdNRGfW" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe> [^5]: The author would like to note that it is the fact that superhero movies are particularly well-documented in their process, rather than personal preference, that they are being exhibited here as learning materials! [^6]: Marvel Previs Video Visualizes Scenes Years In Advance - Nerdist: [https://nerdist.com/article/marvel-previs-video-visualize-scenes-years-advance-mcu/](https://nerdist.com/article/marvel-previs-video-visualize-scenes-years-advance-mcu/) [^7]: How Marvel Designs Movies Years Before Shooting - Business Insider: [https://www.businessinsider.com/marvel-plans-movies-action-scenes-years-before-filming-previs-visualization-2021-1](https://www.businessinsider.com/marvel-plans-movies-action-scenes-years-before-filming-previs-visualization-2021-1) [^8]: Informative piece featuring Roger Deakins on location scouting <iframe width="560" height="315" src="https://www.youtube.com/embed/IX-gQSyXSU4?si=0oN7CnL01C33jkEB" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe> [^9]: Article by Walt Disney Animation Studios on LookDev https://disneyanimation.com/process/look-development/ [^10]: Stunt Coordinator James Northrup details his stuntviz process https://www.youtube.com/watch?v=JRJKzgyt0iA [^11]: Insights on indie preproduction, contrasting with large budgets: [Preparing for Takeoff: Preproduction for the Independent Filmmaker - MovieMaker](https://www.moviemaker.com/preparing-for-takeoff-preproduction-for-the-independent-filmmaker-an-interview-with-author-arthur-vincie/) [^12]: Talk by Colin Levy on his film, 'The Time-Travelling Sheriff' <iframe width="560" height="315" src="https://www.youtube.com/embed/-RXYtm2ffa0?si=-NiBzg-eqi4EnMua" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe> [^13]: David F. Sandberg, via his YouTube channel, describes the process of creating animatic previz for Lights Out and Shazam! <iframe width="560" height="315" src="https://www.youtube.com/embed/8DvG6t0WqfQ?si=BSD2pns0sgJtCWNJ" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe> [^14]: Behind the Visuals of *Moonlight*: [https://time.com/behind-the-visuals-of-moonlight/](https://time.com/behind-the-visuals-of-moonlight/) [^15]: Adam McKay discusses shooting vast amounts of footage for *Anchorman 2*: [https://uproxx.com/hitfix/adam-mckay-and-over-a-million-feet-of-film-in-the-editing-room-for-anchorman-2/](https://uproxx.com/hitfix/adam-mckay-and-over-a-million-feet-of-film-in-the-editing-room-for-anchorman-2/) [^16]: Interview with *Nosferatu* Cinematographer Jarin Blaschke: [https://offscreencentral.com/2025/02/13/nosferatu-interview-with-cinematographer-jarin-blaschke/](https://offscreencentral.com/2025/02/13/nosferatu-interview-with-cinematographer-jarin-blaschke/) [^17]: Discussion likely referencing Cinematographer Roger Deakins' acclaimed work on *Blade Runner 2049*. (Original source link incomplete/generic YouTube). [^18]: Appendix: [Film Previsualization, Control, and Creativity](Film%20Previsualization,%20Control,%20and%20Creativity.md) <iframe width="560" height="315" src="https://www.youtube.com/embed/bgvgi3ShcmY?si=0RJwQB7ZDiiHQj90" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe> *Side-by-side comparison of animatic to final product, Spider-Man, into the Spider-Verse. Copyright Sony Pictures [^19]: Studied: Making of Moonlight https://www.youtube.com/watch?v=6xs9XmnjqEI [^20]: The Cinematography of Moonlight with James Laxton https://www.youtube.com/watch?v=kr6aYjtT288 [^21]: With current technology. The utility of digital previs may extend when monetary or processing barriers fall, or when areas like performance capture or rendering power increase. The following section is nonetheless intended as a reality check as to where capabilities are right now.