Issue link: http://digital.copcomm.com/i/115625
over to Maya to better integrate with those working further down the production chain. So how does he sell his services to clients that might not realize the value of previs? "As an artist and owner, my goal is to keep costs low enough that the production would rather have us around as a valuable resource, than to be so exclusive that they can't afford us. We try to present our services in such a way that it's such a reasonable price." Graphic Film Company's Anthony Hoit: GFC uses iPi Soft's marker-less desktop mocap system to generate motions for previs. captured in odd locations or during short windows, like during the magic hour for lighting purposes. "We'll do some level of planning and design before filming them." Frankel says the goal of their previs animation is "to be incredibly accurate, but not very detailed. If we are building a set, it needs to be built to a half-inch tolerance, but we don't need to model crown moldings or a wood pattern on the floor." Proof recently contributed to Hansel & Gretel: Witch Hunters. Paramount initially called on the studio to help the director create a short pitch piece. "It wasn't green-lit yet," he recalls. "They wanted a one- to twominute pitch piece. The director [Tommy Wirkola] came to our office, and we sat down and worked on one sequence." The goal, says Frankel, was to show the energy, mood and style of the film. Months later, Paramount's marketing department called on the studio again, this time to work with them on trailer ideas. "They wanted to invest money on reshoots for trailers," he recalls. They helped develop 12 vignettes for the trailers.The animatics were cut in as a way to test them before actually shooting them. Proof also worked on the upcoming Fast & Furious 6, helping to determine what could be achieved in-camera, knowing the filmmakers wanted to capture as much in-camera effects as possible. At press time, the studio was handling previs for Marvel's Captain America sequel. Frankel says when he founded Proof, the studio's primary tool was Softimage XSI, but they soon found that Maya was the preferred application for those working on film effects and ended up migrating their pipeline MODUS FX Montreal's Modus FX (http://modusfx. com) is a five-year-old visual effect studio that recently launched a previs division. The effort offers on-set concept artistry, stunt choreography, reverse-engineered camera tracking and motion capture, all designed to help filmmakers maximize the return on their visual effects investment. Martin Pelletier, a VFX supervisor with the studio, says the launch was in response to an obvious need for previs services in their market. The studio's focus is on feature films, and by offering previsualization services, they can help directors organize sequences that might otherwise seem unruly. "It's an easy way for us and our clients to see whatever is going to appear in the shot," Pelletier explains. "If it's small, or a big workload with hundreds of shots, it's a good way to know what is important and what we are going to focus on. It's the best way for us to break down the complete list of shots in which we are going to be working. It's an amazing way to start." Most of the studio's previs work to date has been for visual effects shots they would later be responsible for finishing. But, Pelletier says, with the new division, there will be cases in which the final effects will be completed elsewhere. The studio's initial experience in handling previs came approximately two years ago, while working on the 2011 feature film Source Code, starring Jake Gyllenhaal. At press time, Modus FX was working on two upcoming features that it couldn't yet discuss. Pelletier says Modus FX typically approaches previs from one of two angles. In some cases, such as in projects requiring extensive VFX or CG, previs takes on an artistic approach. Here, the team can determine framing, depth of field and atmospheric effects. He cites an effect the studio created for the film Mr. Nobody, in which the camera follows a rain droplet falling from high above. Previs allowed the team to determine how fast the droplet would travel through the ozone and clouds, how much of the landscape would appear, and the level of detail required to pull off the scene. Another use of previs is for more technical purposes, where they can determine whether or not practical backgrounds will work in a scene, if set extensions are required, or if a matte painting might need to be created. "Imagine a huge sequence that is going to be shot in front of a greenscreen," Pelletier says. "The director and DP need to know what is going to happen in the shot. How close is the actor in relation to a CG creature or background? What is going to surround the actor? Where to position the camera? How fast the camera is moving? These become guidelines for shooting. The director will know the exact tilt, lens of camera, height, how fast. Do we need a crane for this type of shot? All technical elements are taken into consideration, and we determine if it is physically doable." The pipeline at Modus FX is primarily based around Softimage, because much of the studio's core talent uses it. They also work with Maya for simulation and effects such as smoke, fire and explosions. In setting up the previs department, Pelletier says the studio placed a heavy focus on camerarelated tools. They've developed animations that exactly match the movement and restrictions of techno cranes, which helps in determining whether or not a particular crane will work on-set in a given situation. In addition to their film work, Modus FX contributes to the Discovery series Strip the City, which reveals the structural underside of cities such as London, San Francisco and Dubai. The studio is providing previs as well as final effects for the program. Looking to explore new ways to present the Nasonex Bee, the 3D character associated with the brand, NYC's The Napoleon Group (http://www.napny.com/) partnered with ad agency McCann Erickson on a pitch to parent company Merck. The pitch made use of vivid storyboard frames that were customized with a combination of 3D modeled characters and digital backgrounds. Once the pitch was won, Napoleon was tasked with making the bee appear cuter and more expressive than previous versions. Napoleon 3D modelers rebuilt the bee, making his face and eyes kinder and his body a bit plumper. Also, the wings were modeled and animated to be subtler and less distracting; while fingers were added to his hands. 26 Post • March 2013 Post0313_022-24,26-previsRAV5finalread.indd 26 www.postmagazine.com 3/4/13 3:55 PM