General Forum > any advice to transition to Previs?
Your archviz reel looks pretty good. Generally, the two areas of previs you'll find people fall in, are asset creation and shot creation. Which side are you interested in pursuing? Because one will be easier to get into than another for your particular background.
Since Maya and some Softimage is used as the primary shot creation application, you'll need to be proficient with the tools in order to not only work fast, but to be able to handle some of the technical challenges as required by complex shots. The sequences that previs typically tackle are the more complex ones that demand it in a show. Character animation and a strong understanding of camera language are the key essential skills that are needed. As well as an understanding of storytelling, particularly as they pertain to framing, editing and pacing.
Those are all things that you'll need to work at, and be able to demonstrate to employers in the industry. This may mean a lot of personal time and dedication outside of work to becoming proficient with the tools, and building sequences for a reel that really stands out. It's well worth it if visual storytelling is where your interest lies.
Where are you located? Most previs outside of animation studios and fx houses are done around Los Angeles (and London to a lesser extent). If you are located in the LA area, there are a few classes specifically geared toward previs that would be good to take and help you get familiar with the workflows. If you are serious and dedicated, there really isn't any barriers, just as their is no defined path. It really is just a matter of demonstrating these fundamental skills in animation and visual storytelling that are most needed and it shouldn't be hard to get in.
Albert Cheng
Thanks for taking a look, Albert.
I'd love to get into working with shot creation, but I suspect asset creation would be a better in-road for me (and I'd enjoy that as well.)
Most of my spare time goes to becoming more proficient in Maya. Making the transition has been pretty easy overall. Knowing mental ray very well has made it even easier. Character animation will take a little bit more digging into, but its going OK for the most part.
Unfortunately I am not currently in LA. I hope to be back there soon, regardless of what else happens, but of course I'll be out there straight away if I can land a gig.
Who offers classes in previs? If they are short courses I'd be willing to come out just to attend.
The last two sentences of your post makes it seem almost easy. To demonstrate applicable skills I was thinking of putting together some sequences from a script off of an Indie collaboration website.
Thanks again for the good word. If you (or anyone else) has additional thoughts, I'd love to hear them.
Michael
As far as I know Gnomon is the only school that offers a course on previs: http://courses.gnomonschool.com/courses/course/previsualization_and_animatics
I wished there would be more ... especially online classes...
Rene Grasser
Yes Brian teaches the class at Gnomon, but it's a 10 week class. In fact, I got my first introduction to previs in that class many years ago, which I believe was the first time it was taught, by Brian Pohl and David Dozoretz. It was inspirational to say the least, and pretty much laid the groundwork. I've also started to prepare a curriculum for a previs course that I'd like to teach, but haven't made any arrangements with schools yet.
Ideally, your sequence should emphasize physical action. Characters interacting in physical ways with other characters and moving through environments is common (running, fighting, etc..). Effects like explosions, atmospherics and destruction are also pretty typical. As you may or may not know, dialogue and drama are not typically prevised, unless they are embedded within a larger set piece.
It's not easy to find people who have the right combination of skill and talent. There are many amazing animators out there, but it's not enough to just animate well as that's only part of the whole equation. I would say developing the cinematic eye is probably the hardest to acquire since it's not generally taught in our field. Most of it comes from experience, and study of filmmaking. I was lucky in that I took an interest in cinematography early on while in college and would take classes through UCLA extension. I've also take time off to shoot independent films, music videos and documentaries, and take on photography as a hobby. All of which helps build upon applicable knowledge. So what I recommend is to start immersing yourself in the cinematic landscape if you haven't already.
As such, I wouldn't say it's EASY, but considering 80% of who your employers would mostly like be, are the founders of this forum, it isn't difficult to make your skills known.
Albert Cheng
I really tried to resist, but I could not help but put my two cents in on this forum.
The “cinematic eye” issue is a pet peeve of mine. Unfortunately, there is a tremendous deficit in the understanding of cinematic grammar among young filmmakers today, and especially in the world of previs. This is ironic considering that previs is meant to help directors articulate their visualizations. I suspect this is because many previs artists come from the world of animation, which is a very different approach to filmmaking from that of live action moviemaking.
Unfortunately, you are in a bit of a bind. I agree with Mr. Cheng that the best way to learn film grammar is to immerse your self into the world of film. Ideally, you should quit your day job and go work as a PA to a director for a couple years. You will not get paid much, and the producers will work you butt off, but you will certainly learn a lot. However, doing that is wildly impractical.
I think your best bet is to take courses in filmmaking and film grammar. Of course, this too poses a bit of a problem, because very few institutions offer a comprehensive course in the syntax of cinema. As far as I know, Mr. Pohl’s course, over at Gnomon, is the only one in the Los Angeles region. You would think that USC, the oldest film school in the country, would offer such a course, but as of this writing, the film department has yet to even consider it. I believe it would be worth attending Mr. Pohl’s course.
There are also a number of good books on film grammar.
Oh yes, and watch lots movies; even really, old ones.
By the way, I like your portfolio.
Well, so much for my two cents.
Gare Cline
Great replies...thanks.
@Gare: don't try to resist putting in your 2 cents...that's why I'm asking :)
I did take a class way back in college (~10 yrs. ago) that focused on the basics of cinematography(its all they offered) And I've always been into film and watching movies specifically for how shots are composed. Among my favorite movies on the subject is "Visions of Light," and more recently "The Cutting Edge."
We do previs in the arch-viz arena as well for many of the same reasons such as communicating timing and pace to the client as well as showing the art staff what needs to be modeled to what level of detail, etc. I try to bring in film techniques because after all, we are making sort of mini-movies that has a story to be told within a budget. Side-thought: try as I might, I have yet to make something in 2.35 ar. Somehow clients and the bosses don't want it for arch-viz.
I've seen that Brian Pohl has done some workshops at CGSociety, but its been a long time. I'd love to see that happen again, or at least get a hold of any materials they used.
I did find this thread (and the file he posted to d/l) quite a while back:
http://forums.cgsociety.org/showthread.php?t=318012&highlight=previs That's a nice overview from his perspective.
I'd love to hit the conference in Toronto, but there is just no way I can make it.
In the meantime, keep sending thoughts on the subject my way.
Michael
Hello Gentlemen,
Thanks for all the kind comments on my classes. Michael, you'll be happy to know that I am in the process of creating a new POV affliate company that focuses on educating previs. Its a big undertaking but I'm hoping to have something up and running in the first quarter of 2011. I'd like to create something along the lines of Animation Mentor but focused on previs.
Stay tuned.
Brian Pohl
Wow...that sound very interesting!!! I would love to be your first student ;)
Rene Grasser
@Michael: I like your show reel especially the part with the building on the map ... which looked like augmented reality ... nice idea!
Rene Grasser
Rene: thanks! the building coming out of the plan was something I did for the hell of it...I had the idea to do it after that particular project was finished for the client. I brought in my video camera to the office, shot some footage, motion tracked it with SynthEyes and re-worked the model for the construction/animation.
I've done that sort of thing several times. In a similar manner, after a project is finished I'll render off the cameras that i prefered, adjust the lighting, etc. to make my own version of a clip...it's fun to do.
Brian - that is really good to hear! Definitely keep us posted!
Between work and everything else, I am going to continue adding to my software skill set, as well as creating my own shots from various projects, stories, scripts, etc. I'd love to get some feedback on my visual language (dialect?)
Michael
Hey guys, I found this thread very eye-opening, thanks for all the answers!
I too am interested in pursuing a career in pre-vis. I have some pre-vis experience oversees and also character animation etc. and I'm wondering how I should go about assembling my reel - considering I did pre-vis mainly for action sequences involving marine animals and vehicles, but not humans.
It's worth to mention, that my most up-to-date work is actually live-action shorts I directed as a student at the American Film Institute in Los-Angeles - which probably are the best showcase of my cinematic story-telling skills.
I guess the question is: -Does a clip showing a final scene, intercutting live-action which I directed, with CG animation I produced (And pre-vised of course), a good sample for the purpose of applying for a job? Or should I spend a few weeks creating a spec action sequence including a humanoid?
Thanks so much,
David.
David Gidali
Hi, everyone ...
I joined the Society a couple months back as a general member...It's good to see this group.
I joined because I would like to start working in Previs. Does anyone have any pointers on getting involved in the industry (besides, of course, applying when there is a job posting.)
I have been working with 3D and compositing for ~8 years, primarily architecture and product.
My current reel can be seen here, if anyone is interested to give me a critique:
http://vimeo.com/2979287
(Note, the reel isn't specifically geared for previs, just a general sampling of some of my recent works...my next update will include more character work)
Most of my work has been with Max, but I have been adding Maya to my tool belt as well.
If anyone has any thoughts, comments or critiques, I would love to here them.
Thanks,
Michael