Issue link: https://digital.copcomm.com/i/711516
within the show's production window, ad- vanced planning is key. "We'll be helping lay out a dragon fight one day and an epic army battle the next," says Previs/On-set Visual Effects Supervisor Eric Carney at The Third Floor, whose team has been contributing previs, techvis, and virtual production support since Season 4. "Working closely with the art department, stunts, camera, visual effects, special effects, DPs, directors, and other collabora- tors, we are constantly developing unique approaches to pro- ducing amazing shots that are executed as efficiently as possible." That might include informing configura- tion of sets, optimizing camera setups, or replicating moves and timings from the pre- vis to precisely control the cranes, stunt rigs, and pyrotechnics used on set. The main story beats, which are de- rived from boards or director notes, are reflected across the previs. However, the files also include real production specs – art department models, Lidar scans, and details gleaned from all rele- vant departments, making it possible to study and break things down into accu- rate technical diagrams for the shoot. "One area where visualization really helps is in eliminating variables," Carney says. "If there is a giant or a mammoth, we can determine camera placements and eyelines, so shooting units and set design- ers do not have to experiment on the fly. We can send data to practical cranes and rigs to reproduce the moves and timings that were worked out earlier in the previs. By referencing the approved sequence edit, the production team can get a pretty good sense of what will be seen in each shot and say, 'The camera is only traveling this far, so we don't need as much green- screen,' or 'Here are the areas we should focus on for set construction, here's what we need to have for lighting and props.'" Indeed, previsualization was once a luxury on a major project, helping to plan out complex scenes prior to shooting. Today, it is a necessary part of the filmmaking process, playing a greater, more expansive role than ever, helping filmmakers and directors achieve their visions. ■ GAME OF THRONES HAS NEED FOR A WIDE RANGE OF VIS SERVICES DUE TO THE AMBITIOUS VISUAL EFFECTS SHOTS USED IN THE TELEVISION SERIES. Stay up to date with all the latest industry news. Sign up for the FREE CGW newsletter and get timely news updates covering the world of computer graphics. WWW.CGW.COM SIGN UP TODAY! C M Y CM MY CY CMY K