Why use 3D previsualisation
for a commercial production?
Why use 3D previsualisation
for a commercial production?
One of the most important things when making a film is getting the whole team on the same page.
Communication is key, especially when so many different departments are working towards the same image.
One of the most important things when making a film is getting the whole team on the same page.
Communication is key, especially when so many different departments are working towards the same image.
The challenge: building from an empty studio
The challenge: building from an empty studio
On a recent commercial I worked on for EA FC with Jamal Musiala, we were building the entire set inside an empty studio.
This meant that a big part of the final image existed only in our heads before we arrived on set.
Here is where 3D previsualisation became a lifesaver.
There are many steps throughout pre-production that help us make informed creative and technical decisions.
As a DP, I usually have my own moodboards and references for lighting, composition and camera,
alongside the visual references coming from the Director, Art Department and the rest of the team.
All of these references help us define the visual direction of the film,
but sometimes they can't fully communicate how all these elements will come together in the final image.
On a recent commercial I worked on for EA FC with Jamal Musiala, we were building the entire set inside an empty studio.
This meant that a big part of the final image existed only in our heads before we arrived on set.
Here is where 3D previsualisation became a lifesaver.
There are many steps throughout pre-production that help us make informed creative and technical decisions.
As a DP, I usually have my own moodboards and references for lighting, composition and camera,
alongside the visual references coming from the Director, Art Department and the rest of the team.
All of these references help us define the visual direction of the film,
but sometimes they can't fully communicate how all these elements will come together in the final image.
On a recent commercial I worked on for EA FC with Jamal Musiala,
we were building the entire set inside an empty studio.
This meant that a big part of the final image existed only in our heads before we arrived on set.
Here is where 3D previsualisation became a lifesaver.
There are many steps throughout pre-production that help us make informed creative and technical decisions.
As a DP, I usually have my own moodboards and references for lighting, composition and camera, alongside the visual references coming from the
Director, Art Department and the rest of the team.
All of these references help us define the visual direction of the film,
but sometimes they can't fully communicate how all these elements will come together in the final image.
PRE LIGHT DAY
SHOOTING DAY
Making the image tangible
Making the image tangible
On the Musiala shoot, we knew we wanted to build a living room where the whole film would take place.
We had the main elements defined: a sofa, a carpet, a small table in the centre and shelves with books in the background to create depth.
Using 3D previs, we could bring all these elements together with the talent and position the camera accordingly.
It also helped us work out where the background shelves needed to go in relation to the talent and the camera.
This was particularly important because we had a specific set of elements and set dressing available to us,
and once the shelves were built and filled with objects, they weren't something we wanted to move around on the day.
Having a clear idea of their position beforehand saved us from making those decisions on set.
On the Musiala shoot, we knew we wanted to build a living room where the whole film would take place.
We had the main elements defined: a sofa, a carpet, a small table in the centre and shelves with books in the background to create depth.
Using 3D previs, we could bring all these elements together with the talent and position the camera accordingly.
It also helped us work out where the background shelves needed to go in relation to the talent and the camera.
This was particularly important because we had a specific set of elements and set dressing available to us,
and once the shelves were built and filled with objects, they weren't something we wanted to move around on the day.
Having a clear idea of their position beforehand saved us from making those decisions on set.
3D ENVIROMENT
MAIN 3D RENDER REFERENCE
3D ENVIROMENT
MAIN 3D RENDER REFERENCE
We also had to deliver the film in both vertical and horizontal formats.
This meant that the position of the set elements, the talent and the camera all had to work for both compositions.
This is where the 3D previs became particularly useful. We could see how the same setup would work in both aspect ratios
and make adjustments before we arrived on set.
The 3D renders gave the whole team a visual reference for things like lighting, composition, framing, camera position and focal length.
Everyone had something concrete to look at and discuss.
We also had to deliver the film in both vertical and horizontal formats.
This meant that the position of the set elements, the talent and the camera all had to work for both compositions.
This is where the 3D previs became particularly useful. We could see how the same setup would work in both aspect ratios
and make adjustments before we arrived on set.
The 3D renders gave the whole team a visual reference for things like lighting, composition, framing, camera position and focal length.
Everyone had something concrete to look at and discuss.
VERTICAL 3D RENDERS
VERTICAL 3D RENDERS
Previs from a DP's perspective
Previs from a DP's perspective
For me as a DP, it is also a great way to experiment.
I can try different lighting setups, colours, camera angles and depths of field before getting to set.
On this project, I used set.a.light 3D to build the shots and experiment with different lighting setups.
What I particularly like about the software is that many of the tools you need for a real shoot are already there.
You can choose from different lighting fixtures, modifiers, cameras and lenses,
place them in the virtual studio and see how they affect the image.
For me as a DP, it is also a great way to experiment.
I can try different lighting setups, colours, camera angles and depths of field before getting to set.
On this project, I used set.a.light 3D to build the shots and experiment with different lighting setups.
What I particularly like about the software is that many of the tools you need for a real shoot are already there.
You can choose from different lighting fixtures, modifiers, cameras and lenses,
place them in the virtual studio and see how they affect the image.
For me as a DP, it is also a great way to experiment.
I can try different lighting setups, colours, camera angles and depths of field before getting to set.
On this project, I used set.a.light 3D to build the shots and experiment with different lighting setups.
What I particularly like about the software is that many of the tools you need for a real shoot are already there.
You can choose from different lighting fixtures, modifiers, cameras and lenses,
place them in the virtual studio and see how they affect the image.
LIGHT UNITS INSIDE THE PROGRAM
LIGHT UNITS INSIDE THE PROGRAM
This makes it possible to explore the lighting and composition at the same time,
while also starting to think about how we are actually going to achieve the image on set.
It can also give me an initial idea of the equipment we might need: what type of fixtures could work,
how many units we might need and where they could potentially be placed.
Of course, the simulation will never completely replace testing the real equipment on set.
The behaviour of the actual fixtures will always depend on the real conditions.
This makes it possible to explore the lighting and composition at the same time,
while also starting to think about how we are actually going to achieve the image on set.
It can also give me an initial idea of the equipment we might need: what type of fixtures could work,
how many units we might need and where they could potentially be placed.
Of course, the simulation will never completely replace testing the real equipment on set.
The behaviour of the actual fixtures will always depend on the real conditions.
A tool for communication
A tool for communication
But for me, that is not the purpose of previs. It is another tool that allows us to experiment,
make decisions and communicate those decisions before we arrive on set.
And on the EA FC project, it became a really valuable tool to communicate between the Art Department, Production and Camera team,
making sure that when we arrived in that empty studio, everyone had a clear idea of what we were there to create.
But for me, that is not the purpose of previs. It is another tool that allows us to experiment,
make decisions and communicate those decisions before we arrive on set.
And on the EA FC project, it became a really valuable tool to communicate between the Art Department, Production and Camera team,
making sure that when we arrived in that empty studio, everyone had a clear idea of what we were there to create.
DIRECTOR
PRODUCTION
MUNICH LOCAL PRODUCTION
DP
FORMAT
SHOT ON
JULIAN CARNEIRO
WE ARE LAUGH
AMICA FILM
MATHEUS KAKEYA
COMMERCIAL
ALEXA 35 WITH ANGÉNIEUX EZ-1
DIRECTOR
PRODUCTION
DP
FORMAT
SHOT ON
JULIAN CARNEIRO
WE ARE LAUGH
MATHEUS KAKEYA
COMMERCIAL
ALEXA 35 WITH ANGÉNIEUX EZ-1