THE THIRD FLOOR’s Todd Constantine takes a thrill ride into Gotham City as he applied his visualization expertise as a solo artist and supervisor on Joker (Warner Bros.). Under the direction of Director Todd Phillips and Cinematographer Lawrence Sher, previs was used to map out a complex sequence with multiple moving parts to communicate the vision prior to production.
Constantine explains how the scene, taking place on a late-night television talk show, was visualized before filming: “I first created a previs animation of all of the action and performances as one master shot. We placed multiple virtual cameras to account for every aspect and point of view the director would possibly cut to as the scene played out — close-ups, two-shots, overs, monitor views, and geography wide angles. Each camera angle was then rendered in full, producing numerous previs dailies that were thousands of frames long. The DP and I studied and replicated camera coverage that matched what talk shows generally use to create the feeling of being in or behind-the-scenes of a broadcast program. Rarely would an entire sequence be visualized from so many angles. The process was important in this instance as it helped define the pacing of the sequence in editorial to develop a visual story that matched the look you would expect from a late-night show.”
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