SIGGRAPH ASIA 2015 was held in Kobe, Japan on November 2nd - 5th.|
We, PREVIS SOCIETY ASIA organized a panel discussion in SIGGRAPH sessions and a booth in Exhibition.
Thank you very much for coming!! Our first event has been success.
Education Panel in "Symposium on Education"|
PreVisualization: How to Develop PreVis in Asia?
Kobe Int°«l Exhibition Hall No. 2, Meeting Room 2A, Level 2
The panel discussion about Previs in Asia was opened at 4:30 PM on November 4th.|
We managed five speakers from Previs industory in Japan, Taiwan, Korea, China and USA.
The list of speakers is following:
Summary about the discussion is following. We hope you use this for reference.
|Satoshi Yamaguchi, the head foundering director of PREVIS SOCIETY ASIA, explained the purpose for establishment of the society. Also he explained how to conduct today°«s session and some basic precautions in this session.|
|(1) Satoshi Yamaguchi: ACW-DEEP Corp. [JAPAN]|
Yamaguchi explained the current status of Previs business in Japan. |
Particular circumstance in Japan: Each staff member such as director, photographer and lighting staff has the equal authorization to decide how to proceed with filming. Accordingly, it is very difficult to reach the conclusion to use the previz in the specific filming without the total agreement among them.
Each staff member has their own policy and method for filming. Accordingly, Yamaguchi pays his full attention not to offend their self-respects when he is asking to use previs in the filming.
Sometime Japanese staff members show some aversions against °»previs images with detailed descriptions°…. This is because some staff members think such detailed images may affect their own images or actors°« actions trying to create for the project. In this case, some simplified images with simplified movements may be prepared.
|(2) Christopher Chen: Reallusion [TAIWAN]|
Chen explained his actual examples of previs education along with examples of his previs works.
Reallusion hosts a contest that students make a CG movie with Reallusion's CG software "iClone" within 48 hours. The 1st place award is $10,000! It is extremely challenging, but, with prior training of 4 to 5 months, most of the participating teams were able to complete the works within their time limit. The work of the Malaysian team won 1st place for the 48 hour competition this year is surprisingly well made.. You can see all works at Reallusion's web site "http://www.reallusion.com/event/15-asiagraph/".|
Actual teaching example from university in China is that, averagely speaking, only three to five students out of 65 students were able to produce good CG animation works. But with iClone and its huge library, students have been able to produce reasonable quality of animation works. He would like to try to keep finding the talented students with this kind of method in the future.
|(3) Danyo Yoon: Pretzeal [KOREA]|
Yoon explained his own history about how he started previs business in Korea.|
Initially, he learned Graphic Design in his university but he started thinking to enter the filmmaking business eventually. He was tried to approach to filmmaking business by making CG images for a while. Then, he was deeply interested in the jobs related to story-telling. In such period, he encountered previs. Initially, he didn°«t understand even what previs means but he found out that previs is attractive for its process that can get engaged on story-telling within the limited time and money. For doing previs work, he was able to utilize his skills and tools for CGI making.
He recognizes previs as the very effective method to make good stories by using ideas in creators°« mind with very limited time. He explained that previs is the very important tool to let the staff members understand how much budget would be actually required to complete the specific scenes.
|(4) Gavin Boyle: BaseFX [CHINA]|
Boyle explained his own experience when he started his previs business in China. |
He started his business in China by being invited for the production of °»Monster Hunt°… (film integrated for live action and animation). He was required to do previs for this project but there were no previs companies in China at that time. Accordingly, no one in China understood what to do with previs.
He needed to show the producers how much money will be required and how much cost shall be cut to make this film. He made some previs images with 60-70% length of actual feature film length. This was very effective to explain the tight situation as the budget and the time prepared for filmmaking in China was not enough compared to ones in USA.
At that time, there were no staff members understanding what the previs is in China. Accordingly, he needed to hire some animators as previs staff. (Animation skills were prerequisites for previs work.)If staff members have such basic but practical skills, they can become good previs engineers by providing them sufficient training.He needed to be very careful to collaborate with the director in process of previs work. Also, the relation with production designer was important for him. As far as the budget allows, he used the drone or such high-tech machines. This was to give the priority to provide the director what he wants. (It was really important for him to give the director some impressions that the previs process is indispensable and reliable in pre-production.)
For the development of previs in the future, it is essential to let the production side recognize that the value to have the previs department in the filmmaking business. He would like to promote the activity of this society so that the members in this panel discussion would be recognized even in China.
|(5) Daniel Gregoire: HALON Entertainment [USA]|
Gregoire introduced how previs has been used in the actual scenes of filmmaking as the forerunner of previs in Hollywood. |
He introduced various types of previs usages for such as pitching, story development, scene development, decision for shooting direction, on-set activity and post-visualization.He introduced some examples of actual customers (such as Spielberg, Lucas).
He introduced the actual examples for how to use hardware. He mentioned that it is impossible to meet all of requirements from customers just by using computers. For example, the drones are required to combine with live-actions.) He emphasized that the merit of previs is that by preparing the storyboard visually with previs, all of staff members can be °»on the same page°… (can understand the best version of the scene) just by looking at such images.The budget is one of the major obstacles in filmmaking. By collaborating with the director and showing him/her how much budget would be required for the project, we can make that project °»sellable°….
n filmmaking, the accidents always happen. The requirements from production side change in daily basis. From that aspect, it is important to have quick actions with previs against the image changes on set.
|3) Panel Discussion|
The following four members introduced their experiences on previs business in each country for the theme of thesession "How to Develop PreVis in Asia".|
Boyle explained the education method in his own team and his actual work.
There are no schools including the previs process into their education curriculum yet, although the education for animation is included. Accordingly, it was very difficult to find the talented persons for previs and he needed to pick up the manpower who can handle previs regardless of absence of their practical previs skills.His team consisted of 5-6 members with such insufficient previs skills. It was crucial to let the team members understand the previs works by explaining necessary information to them and exposing them to the actual works on a case-by-case basis by collecting the information from the clients and the director to forward the projects with the sense of speed among the members having limited talents for previs.
He also mentioned that in education of previs it is very important about how the necessary information is shared with the members during their training.
Yoon explained his experiences (difficulties) when he started his own previs business in Korea. These episodes may help expanding previs business into Asian countries.
There were some companies doing VFX as post-production and some CGI companies doing pre-productions in Korea. However, there were no companies doing previs as business officially. Recently, it has been required to show °»how the final shot of VFX looks like°… in the car chasing scene or the character setting even in Korea. The production sides have become interested in the effectiveness of previs by being explained about the main purpose of previs for that °»how the previs can provide the storytelling and the scene-making effectively°…. Many production staff members have started understanding the effectiveness of previs in Korea.
Anyway, if the staff members are not interested in storytelling or they cannot show that the previs can handle storytelling very well, they might not be able to develop the previs deeply into the filmmaking business.
Gregoire explained his experiences of previs business in Hollywood. These episodes may help developing previs business into Asian countries.
Once he was asked to complete the feature film only within 9 months (normally it takes 2 years). He completed the necessary previs works just with 2 months of pre-production period and provided the images requested by the director. Finally, the director was able to complete this film just with 9 months by shooting according to the provided previs images. To raise the awareness for previs, the 1st step is to provide the best results each time for what the director and/or the producer want at any costs.It is really important for previs engineers to be °»always ready°… so that they can provide °»solutions°… right away against the troubles among the director and the production staff members.
Anyway, it is essential for previs development that the previs process earns °»trust°… from production staff members.
Chen explained that it is important to raise the young generation (students) to improve the presence of previs. He mentioned that he wants to contribute the previs education for next generation with the following two activities.
(1) Leading the young generations with the activities that can inspire them
(2) Finding the talented young people by continuing the competition for image production. He would like to hold the new competition shortly.
|4) Q & A|
This session was skipped due to time restriction. Yamaguchi asked audiences to submit their questions/comments via PREVIS SOCIETY ASIA's information desk.|
PREVIS SOCIETY ASIA information desk : firstname.lastname@example.org
This panel discussion is the 1st event for PreVis Society Asia after its establishment in July, 2015. We would like to contribute the promotion of previs in the filmmaking industry by creating the cooperative circumstances among Asian countries via the events such as seminar like this time. |
We hope you join us and make new generation of filmmaking in Asia.
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