This was a really fun job to shoot and to previs. The director Tom Goldstein of Good, Great, Grand and our production designer met a week before the shoot to talk about the spot. The main goals was to design a camera move to best tell the story.
I prepared some basic assets in Maya like the library bookshelves, desks, and a mini Becky G model and brought my laptop to the meeting. After brainstorming what camera moves we though would work well and what set pieces Tom wanted to see, I put together an animatic in Maya. It was pretty rough but we gave the file to the editor who cut it to the music.
This was really great to see for everyone, especially this early in the process. After we refined the timing a bit and figured out where to put certain set pieces, the technical process began for me. I built the camera move in a scale model of the sound stage. Then I figured out how big of a technocrane we would need and how much track would be needed using my MWPT: Techno25.
After we commited to a focal length the art director and I calculated in Maya how big the set walls would need to and how far they would need to be from the cyc and the camera. Finally I created a lighting diagram and list based on the previs.
On the pre-light we placed the set and the crane based on the previs/tech diagrams and everything worked out perfectly. The crane + dolly combo was executed in a different way than I had previs’d but the length of the crane and the dolly track were accurate as were the set dimensions.
I’m really happy with how well the spot came out and how the whole process from director treatment, to previs, to shoot happened.