Previs / TechVis
Plan the shoot before the shoot. Previs and techvis built for the volume.
Plan the shoot before the shoot. Previs and techvis built for the volume.
Shoot It. On Paper.
Previs stages the scene before the stage is booked: blocking, coverage, and camera moves in a working 3D layout. You see the sequence cut together while changes still cost hours, not shoot days. Decisions get made before they get expensive.
Frustum. First.
Volume previs plans around the camera frustum, not a generic set. We map every move against what the wall has to render and where the frustum reaches. If a move breaks the illusion, we catch it here instead of on the day.
Exact. Actionable.
Techvis converts the plan into real values: lens, camera height, track length, and wall content per setup. The stage team arrives knowing what loads and what moves. Shoot days run on a plan, not a guess.
See For Yourself.
Put the previs sequence next to the footage that came off the wall. The moves, the frustum, and the coverage line up because they were solved first. That match is the point of planning the shoot before the shoot.
Previsualization and technical visualization: plan every shot, camera move and stage setup before you shoot.
Previs,TechVis,Shot planning,Frustum mapping
Previs & technical visualization.
Block it early
Built for LED
Hand the crew numbers
Plan versus day
Start a previs project
Plan your volume shoot before you book a day.
Start a previs package
Previsualization and technical visualization turn a script into a shootable plan. Previs blocks the scene in 3D before the stage is booked. Techvis converts that plan into the real values a crew and an LED volume need: lens, camera height, track length, frustum coverage and wall content per setup.
Why previs matters more on a volume
On location, a camera move that does not work costs you a setup. On an LED volume it can cost you the illusion. The frustum only renders correctly for the tracked camera, the wall has a finite width, and content has to be built and loaded before the day. A move that overshoots the wall or pushes past the frustum is not a lighting note, it is a reshoot.
Planning in 3D catches those problems while changes still cost hours instead of shoot days. You see the sequence cut together, you know which shots the wall can hold, and you know which ones need a practical set or a post extension.
Decisions get made before they get expensive.
Previs: block the scene
We build a working 3D layout of the set and the stage, then block the action, the coverage and the camera. The output is an edited sequence you can watch, not a set of stills. Directors and cinematographers use it to settle coverage; producers use it to settle the schedule.
Techvis: hand the crew numbers
Techvis is the part that makes previs actionable on a virtual production stage. Every shot is resolved into values the floor can work from.
What a techvis package specifies
- Lens and sensor: focal length and format per setup
- Camera position: height, distance to wall, and track or crane length
- Frustum coverage: where the rendered frustum reaches and where it runs out
- Wall content: which environment loads for which setup, and at what resolution
- Stage geometry: set pieces, sightlines and the practical build around the wall
- Risk flags: moves that break the illusion, and the alternative that does not
Where previs feeds the rest of the build
Previs is not a standalone deliverable. The blocking drives what the virtual art department models, the techvis drives what the stage loads, and both carry forward into postvis if shots need finishing. Planning once and reusing the plan is what keeps a volume schedule tight.