![]() ![]() ![]() This means the camera format, lens focal length, dolly movement, and size and choice of any crane or jib arm, are duly considered. While one can draw virtually anything with traditional storyboarding methods, FrameForge's 3D accurate virtual space considers the physical constraints of a show’s actual set, thus helping forestall unpleasant and potentially costly surprises that might arise during a production. Integrating job-specific parameters such as camera format, aspect ratio, and lens focal length, FrameForge Pre-viz lets the director know what to expect before setting foot on the actual set by creating an optically accurate 3D representation of the working space. ![]() This is because the forced-perspective renderings served up by such software fail to reflect the specifics of a shoot and the physical constraints of an actual set or location.įrameForge Pre-viz v3.6 significantly expands the scope and power of the storyboarding craft, transforming the process from a dull, static exercise into a dynamic collaborative exploration that empowers the crew and the creative team. Traditional storyboarding software that utilizes simple clip art and a 2D canvas offers little advantage over the old scribbled-on-napkin approach. We know how proper storyboarding can empower our crew, communicate more effectively with colleagues, and produce a more collaborative, low-stress environment for the entire filmmaking team. Many cinematographers understand how sophisticated storyboards can propel us to seek more creative possibilities. On the other hand, maybe it is what a stressed-out director needs - to be better prepared, more efficient, and more relaxed on the set. It is hardly what an already overburdened director wants or needs: to learn and master a new storyboarding tool. Why might directors eschew more sophisticated storyboarding tools? There is the inertia factor: We’ve always worked in a certain way and, if it works, why change now? This fear of change applies especially when the stakes are high, which is pretty much always the case in high-end cinema and television production.ĭirectors will cite pressure-cooker work environments, the persistent time crunch, and their own aversion to the steep learning curve that usually accompanies new software. ![]()
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