I realize it may be too late to respond to this thread, as you most likely have finished with your dissertation. Nonetheless, I could not resist putting in my two cents if not for the sake of your paper, at least for the benefit of the readers.

My name is Gare Cline and I am a previsualization artist. I primarily do what the author Marcie Begleiter refers to as “visual pitches” for producers and directors trying to raise funds for low budget indies. In other words, I render CGI illustrations for use in business plans. I work in FrameForge, SketchUp and PhotoShop. Sometimes I will use Maya or Blender for modeling (which I prefer the later of the two). I like FrameForge particularly, because of its ability to render optically-accurate images. Recently, I have branched into stereo 3D (S3D), for which FrameForge is well suited in handling.

I wholly agree with everything Brian Brookes has written and I must say he said it better than I could have. However, I would like to add one observation from the point of view of a previs artist.

The issue of ignorance is problematic and Mr. Brookes has covered the subject well. The only observation I have to add to his argument is resistance. Though many filmmakers may fail to see the value in previsualization, there are a vocal few who openly scorn digital storyboards. Sometimes the intensity of their ranker is quite shocking. I suspect that some of this has to do with fear. Fear of losing control. Not long ago, a respected ASC DP told me that he hated previs (yes, hated), because he felt that is was not the place of the previs artist to tell him how to do his job. Of course, I do not know the details of his situation, but I feel it is my primary job, as a previs artist, to accommodate everybody and facilitate communication. Unfortunately, this cinematograper is not alone in his opinion.

On a more positive note, I think, in the long run, previsualition will become standard in the industry. We just need our tipping point. S3D got theirs with Avatar. Like all revolutionary ideas, we’ll eventually get ours.

Well, here is my take on it for whatever it is worth.

1. In regards to this question, I can only speak for myself, and my experience here in L. A. Unfortunately, I don’t think previs is getting near the attention it deserves. Most directors and producers see previs as an extension of the visual effects, not realizing that it can do so much more. On the other hand, many directors turn to traditional boardmen to board their films, not realizing the limitations of traditional storyboards. One limitation is that they are not photographable. However, there is a growing number of independent filmmakers, who are using storyboard applications of one form or another. Most are struggling along boarding by them selves, as they cannot afford to hire a previs artist. Yet, in the last few months, I have noticed some mid-ranged pictures beginning to take on previs storyboard artists.

2. Can’t comment on this one as it is outside my realm of experience.

3. This is where I differ with Brian. I believe that previs for VFX and live action are entirely different beasts. Though both share some of the same tools, the advanced skill sets are entirely different. VFX previs requires a high proficiency in modeling, rigging, surfacing, lighting and whatnot. (I must admit, I am wholly inadequate in many of these skills. Lighting would be the only thing I could do with any proficiency). Previs storyboarding, on the other hand, deals with time and space issues in relation to the film production stage. Skills in on-set shot management, cinematography, production design and computer graphic rendering play a far bigger roll in previs storyboarding. Thus prevising for live action requires an entirely different approach than prevising for VFX. For instance, the storyboard previs artist must not only render the director’s vision, but he or she must be concerned with the time frame in which a scene will be shot. In other words, how many set-ups within how many hours. Other issues, which are a concern, are space constraints and shot execution. And, if the picture is to be shot in stereo 3D, then the previs boardman will most likely be concerned with rendering and maintaining the stereo depth budget.

4. The independent projects I work on tend to have rather low budgets. Therefore, jobs usually start around $1500 for a couple of dozen frames and occasionally run up to six digits for entire pictures. Over that amount, potential clients tend to use the big VFX houses.

5. Some jobs may last only a few days, many run about four to six weeks and few can be as long as three months.

6. FrameForge is the base application I use. I do use Maya, Blender and SketchUp for some of the modeling. If the boards are meant for presentation, I often do the clean ups on PhotoShop. I work almost exclusively on Macs.

7. Wouldn’t be able to answer that one, because I don’t run a world class previs studio.

Brian,

Unfortunately, VFX, for the most part, is not a consideration on small budget pictures. The cost is prohibitive. I guess this is why I tend to make the distinction between previs for VFX and previs for live action.