Reply To: Digital Pre-Vis


    Dear Karl.

    Digital Previs itself is a relatively well-established technology application today with an active service provider community in most production markets. The skill-sets and underlying graphics engines are similar to those used in graphic design and animation, which allows both new and existing service providers to expand into this field.

    Outside of the general debate between pen and paper vs keyboard and screen, cost would likely be the primary consideration for any Director’s adoption. In terms of “soft funds”, most production rebate programmes in well-established production markets in the US and the EU would include local expenditure on Digital Previs.

    In terms of adoption generally, the Director’s familiarity with or preference for hand-drawn story boards will likely be weighed against technological proficiency and the over-all effect on total negative costs and production quality.

    The evolving extension of this technology out of development and Pre-Production and into Principal Photography has experienced significant momentum as well as a number of hurdles. The primary hurdle being the construction, maintenance and management of bespoke virtual stage Volumes (and the corresponding costs).

    A number of competing designs, configurations and specifications exist today and most are tailored to relatively large-budget projects with support of the Media Majors.

    However, the limited available capacity within traditional sound stage studio facilities has directed attention to Volumes as an investment opportunity. Investment into more standardised configurations is expected to increase adoption and proliferation across production markets, and perhaps open new production markets in locations lacking adequate soundstage facilities.

    It is this period of investment and adoption that may determine whether virtual stages become a forgotten fad, or the industry standard.