Dynamic nature of film production mirrors the unpredictable challenges of an expedition into unknown territories. Acknowledging the inevitability of unforeseen circumstances, filmmakers embark on a creative expedition armed with meticulous plans as their compass.
In the cinematic expedition, where unexplored ideas and creative landscapes unfold, strategic planning becomes the key to navigate. Plans act as the guiding map, offering a structured framework amid the ever-shifting dynamics of the creative journey. This is particularly evident when exploring the intricacies of motion control shots, where precision is paramount.
Within the realm of motion control, filmmakers employ 3D visualization as a crucial tool. The virtual landscape serves as a testing ground, allowing them to explore and refine every nuance of camera movement before setting foot on the actual filming terrain. This proactive approach not only anticipates challenges but empowers filmmakers to adapt and innovate when faced with the unpredictable.
The beauty of 3D planning for motion control shots lies in its ability to bridge the gap between imagination and execution, much like preparing for an expedition by mapping out the unknown route. By confronting potential pitfalls in the virtual realm, filmmakers can fortify their plans, increasing the likelihood of success when navigating the practicalities of the film set.
Despite all the meticulous planning, every filmmaker eagerly awaits the moment when the actors step into the real light of the set. In these moments, amidst the authentic interplay of human performance and the nuanced play of light and shadow, the effect of their creative expedition becomes truly profound and almost magical. Bringing a pre-visualization to life through the authenticity of human action in real light, in a great costume, in a lovingly constructed set proves to be a transformative and awe-inspiring experience every time.
I employ a diverse array of tools blended together as a versatile toolbox- such as Maya/simul8, Sketchup, Flair and Adobe CC. This makes sure that every request finds its corresponding solution on a scalable level.
Everything is possible, from simple set blocking to a complete production previz, including the delivery of ready-to-go job files for Flair (which can make sense in some cases). The special thing about pre-visualising motion control shots is that I can use special tools and my specific experience of real filming to ensure as far as possible that the shots can be realised in the desired way on set. In this way, previz and techviz come together in one step, streamlining the production process and saving time and money.
In today’s fast-paced pitch-to-production process, being able to quickly check the feasibility of a creative vision can be a decisive advantage. The brainstorming process itself can also be compared directly with the technical possibilities. This opens up creative scope. In communication with the client, only creative changes need to be moderated, not the subsequent slimming down based on unrealistic assumptions in advance.
Every project is different and different questions need to be answered differently. However, experience shows that complex projects can always be broken down into smaller sub-questions based on the same or similar routines as many of the previous ones. So, with the evidence of my work over the years, looking through a properly set up 3D camera, constrained to a virtual MoCo rig, moving in a well measured 3D scene, is a very straightforward process and might help you realise your next project more effectively than without it. đŸ™‚
Let´s have a look at some cases:
Pfister 140 years- from Production Previz to Shoot
I had the chance to guide the project from the creation of the production previz to the actual shoot.
This role encompassed overseeing the entire service, from Production Previz to set planning and shooting schedule coordination based on technical specifications. The client’s constraints were explicitly outlined: 2 shooting days and one prep day to execute a total of 4 intricate motion control shots with lots of layers and partially stunt rigging involved.
A primary and essential requirement was the development of the Production Previz through multiple sessions with the director and Director of Photography (DoP). This step was crucial for informed decision-making with the creative team and the agency, as well as for securing approval from the client. Throughout the process, ideas were visualized and discussed in various iterations. The seamless connection between the virtual camera and the virtual robot (BoltX) ensured that all considerations remained technically feasible at every time.
The new eActros600
A complex challenge including Previz, Management of different sets and Rigs and Maya- based animation of industrial robots as "actors".
This proved to be an exceptionally versatile and intricate previsualization project, incorporating multiple motion control rigs such as Milo and BoltX, a scaled truck model set, and the integration of two standard Kuka industrial robots within an interactive set. The unique challenge arose from the initially abstract aesthetics of the concept, which was requiring effective communication of vast amounts of information to the viewer.
PA SPORTS- 150 Bars Infinity
An 8 minute music video in which the Previz seamlessly did the programming for the Bolt on set.
This project posed a distinctive challenge—an engaging 8-minute music video showcasing the artist in multiple outfits, multiplied with himself and interacting with real and CGI elements. The previsualization (Previz) took on a pivotal role, serving as both the creative communication and the final programming of the MRMC Bolt robot itself. In this unique workflow, data from Maya was seamlessly transferred to Flair, where it was used to generate a job file ready for direct implementation on the robot. This streamlined process was instrumental in meeting the demands of the tight shooting schedule while ensuring precision and synchronization with the artistic vision.
Frerrero Kinder Country
Another full remote project from Previz to finished move on set, delivered to Capetown, South Africa.
The objective was to pre-visualize a pivotal shot for an advertising clip and tailor it to two distinct filming locations—an escalator in a subway station and an outdoor landscape. Additionally, the pre-visualization needed to align with the capabilities and range of the on-site motion control system. Ensuring precise timing and framing in the pre-visualization was of utmost importance for effective communication among the creatives, film production team, and the client. Given that the surprise element in this shot carried the entire clip, meticulous planning was essential.