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I don't really care too much about Marvel films, but this is a good thread on previz & the blending of acting/animation @timoni/1357992388577218561Permalink Look on archive.org
♻️ 4 Retweets ❤️ 12 Favorites Mood +8 🙂
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coming from games, hearing about the traditional film production process scares the shit out of me. that you do all of this stuff, write, shoot, edit, but you can't see the film until the very end of the process? but what if its bad & you didn't notice?Permalink Look on archive.org
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so yeah, the idea that you can get a shitty version of the film upfront & mess around with it before doing the expensive bits... I don't see why you wouldn't (if you can afford a previz studio).Permalink Look on archive.org
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some interesting wrinkles in the linked video about the relationships between directors and previz studios, tho- fine for Marvel, but if you wanted to do something new with pacing or how action scenes are presented, feels like the director would need to be very hands on early on.Permalink Look on archive.org
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the other thing this works nicely with is the LED wall tech used on The Mandalorian. feels like this technique is gonna be everywhere in a decade's time. fxguide.com/fxfeatured/art-of-led-wall-virtual-production-part-one-lessons-from-the-mandalorian/Look on archive.org
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being able to see your CG background in real time as you're shooting, and make adjustments to it on the fly... again, game dev background, but it seems so obviously superior to shipping off footage to CG studios to crunch over, only seeing the end result months later.Permalink Look on archive.org
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idk the exact workflow here, but I assume you start with previz, polish up the background elements til they're at quality, then shoot using the LED wall, and then add back in whatever foreground CG you need using the previz as reference.Permalink Look on archive.org
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the more generalisable lesson is that real time feedback is super powerful and tools that give you it have a huge advantage over those that don't. close down that feedback loop! the more iteration cycles, the better the thing!Permalink Look on archive.org
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real time rendering forever!!!Permalink Look on archive.org
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reminded of this thread (^^) about the massive disconnect between shooting film & VFX, and how frustrating it must be to be a director & have a critical part of the process tied up in crunched outsourced studios: @dunkwun/1510436479591280640Permalink Look on archive.org
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just read this interview with the Parasite editor (a surprisingly VFX heavy film)... premiumbeat.com/blog/parasite-editor-jinmo-yang/#:~:text=Using%20Final%20Cut%20Pro%207,Pro%207%20when%20editing%20ParasitePermalink Look on archive.org
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and stuff about having an editor on set, so that they can see a rough cut when shooting & be sure they had the shots they neededPermalink Look on archive.org