To help realize the cinematic world of Warner Bros.’s Wonder Woman, artists at The Third Floor London, led by Vincent Aupetit, visualized key scenes using previs and postvis. Work spanned nearly two years, as the team collaborated with director Patty Jenkins and visual effects supervisor Bill Westenhofer to map out key action and visual effects scenes.
Previs was also used to explore story elements and to identify requirements for the physical shoot as well as visual effects. Following production, postvis shots with temp CG elements stood in for finals as the editorial cut progressed.
We checked in with previs supervisor Vincent Aupetit at The Third Floor London to find out more.
Wonder Woman is a good example of filmmaking that leveraged not just the technical, but also the creative advantages of previs. How can a director maximize the benefits of having a previs team?
Each project is different, with different needs and opportunities as well as creative styles, but for Wonder Woman our director worked very closely with us and got involved with previs and postvis as much as she could. Even though this was her first time using previs, she was open and enthusiastic and quickly recognized the possibilities. She engaged with us and used our resources to further develop the ideas she had for the story and action, including iconic moments she envisioned for the main character. Seeing the ideas she was after successfully portrayed as moving previs was exciting for her and motivating for us.
How do you ensure what is being visualized translates to what can be achieved through actual filming and visual effects?
We put a big emphasis on shooting methodology and helping with requirements for the physical shoot and visual effects work — even when we are not specifically doing techvis diagrams or schematics. We conceive previs shots from the start with a shooting method in mind to make sure no shots represented in previs would prove impossible to achieve down the line.
What can productions look to previs for when preparing for large-scale visual effects scenes?
Of course, previs can be an important guide in deciding what parts of sets to build, determining equipment, camera and greenscreen needs and having a roadmap of shots. The previs team is in a position to gather input across many departments — art department, camera department, stunt department and visual effects — and effectively communicate the vision and plan.
But another huge part of it creating a working visual outline for what the characters are doing and what action is happening. If a director wants to try different narrative beats, or put them in a new order, they can do that in the previs world before committing to the shoot. If they want to do multiple iterations, it’s possible to do that before embarking on production. All of this helps streamline complexities that are already there for intensive action and visual effects sequences.
On Wonder Woman, we had a couple of notable scenes, including the beach battle, where we combined previs, storyboards and fight tests to convey a sense of how the story and choreography would unfold. Another was the final battle in the third act of the film. It’s an epic 40 minutes that includes a lot of conceptual development. What is the form and shape of Ares, the movie’s antagonist, as he evolves and reveals his true god nature? What happens in each blow of his fight with Diana on the airfield? How do her powers grow, and what do those abilities look like? Previs can definitely help answer important questions that influence the narrative as well as the technical visuals to be produced.
How can directors leverage the postvis process?
Postvis has become more and more instrumental, especially as sequences go through editorial versions and evolving cuts. For Wonder Woman, the extensive postvis aided the director in making editorial choices when she was refining the story for key sequences.
Being able to access postvis during and after reshoots was very helpful as well. When you can see a more complete picture of the scene you have been imagining, with temp characters and backdrops in place, your decisions are much more informed.
How do you balance the ability to explore ideas and shots with the need to turn them around quickly?
This is one of the qualities of previs artists — we need to be both effective and flexible! Our workflow has to sustain and keep track of shots, versions and approvals. On Wonder Woman, our on-board previs editor literally did wonders keeping the show organized and reacting near instantaneously to director or visual effects supervisor requests.
The pace of the show and the will to explore and develop with a passionate director led to our producing an astonishing number of shots at a very rapid rate despite a challenging schedule. We also had a great working relationship, where we were trusted truly and fully by the client and repaid this trust by meeting deliveries with a high level of professionalism and quality.