Monday, 28 March 2011

Major Project - Next Previz's Based On Alan's And Phil's Advice

So when discussing the layout and movement of the piece with Alan and Phil , they had different views of how I should evolve the piece but I could not incorporate them into the same piece as some ideas conflicted so I created 2 previz's based on Alan's and Phil's individual recommendation.

So when speaking to Alan the recommendations were to lower the camera angle so it was like a persons view, secondly make sure the turns of all the carriages were exactly the same with camera angle and speed and lastly to work in thirds making sure the most important part is in the centre of the image.

Then when speaking to Phil, the recommendations were to have different views and movement when showing off each carriage instead of having them all just spin and secondly have many different types of shots.


  1. hey gary - now I'm confused. Why is it necessary to show the 'same' carriage materialised 3 times? Or are you using the model of one carriage as a substitute for 2 different ones you're yet to model? If it's the same carriage materialising 3 times, then this just seems like a terrific waste of your audience's time - once we've seen one materialise can't we just assume that we know what the others will look like too - and so therefore cut to the coupling sequence? Please clarify. Cheers.

  2. Hi sorry for the confusion but yeah for the previz I have just used the same coach but for the actual final piece you will see three different carriages
    1st - a dining carriage
    2nd - a business carriage
    3rd - a bar carriage

  3. Okay! :D Well, that makes more sense now. In regard to the 'conflicting' advice - I think the point is about making best use of your models; for me, it's about taking me closer once you've established the models as 'diagrams' - basically, put me into the space more - hence my suggestion that you use a more filmic approach to the number of shots; at the end, your sequence is filmic anyway, as the train comes towards us, and then the camera turns to follow it. Don't be confused, Gary - just be decisive. Remember, you're trying to evoke a sense of wonder and nostalgia for this special vehicle, so find a way to involve the audience - and that might be through a more filmic relationship between long shots, mid shots, close-ups and a more human scale POV.