Case Study

As Lead Previs & Techvis Artist, my role focused on developing the Previs and supporting technical planning under the direction of the Previs & Techvis Supervisor and VFX Supervisor. This work helped define camera, scale and spatial relationships across full-scale and miniature photography.

Production geometry was prepared at scale for Previs, animation blocking, and technical planning. Characters were generated and rigged for talent blocking and animation. Sets and production environments were built for Previs and spatial planning. Additional geometry was sourced, modeled, textured and scaled as required.

Custom Maya tools and Nuke templates standardized camera telemetry, scale conversion and technical output. Maya tools captured camera speed, travel distance and scale-adjusted measurements directly from the Previs scene, reducing manual calculation across both production scales. Nuke templates converted the data into consistent production-facing media.

Approved storyboards were developed into animated sequences with the VFX Supervisor, refining blocking, performance, composition and camera movement. The sequences established timing, staging and the intended relationship between full-scale and miniature performances before photography.

Approved Previs became the basis for technical planning. Each setup documented lensing, camera position, movement, subject distance, scale conversion and performer placement, giving production measurable camera and stage requirements.

Corresponding A-side and B-side setups maintained matched camera and spatial relationships across separately photographed full-scale and miniature elements.

Techvis translated approved setups into practical stage plans. The plans informed camera placement, performer spacing, set dimensions and equipment selection, providing a dependable reference for complex shots.

As production became familiar with the 12:1 scale conversion, Techvis was no longer required for every setup. It remained a dependable reference when complex shots required precise validation of camera, scale or spatial relationships.

VFX vendors assembled separately photographed performances, physical environments and digital elements into the final composites. The finished shots reflect the action, framing and 12:1 scale relationship developed in Previs and Techvis, adapted through photography and post-production.

Previs and Techvis made the intent of each shot tangible before photography: something production could see, measure and build from. That shared visual and technical reference could be tested and adapted as the work moved through photography and VFX.

SOURCES

[1] PREVIS INTERNAL VERSION — MAYA
Internal Previs used to establish shot composition, timing and the scale relationship between full-scale and miniature elements.

[2] PREVIS WITNESS CAMERA — MAYA
Alternate view of the Previs scene showing character placement, camera travel and spatial relationships across the full setup.

[3] FINAL AIRED PLATE — PEACOCK
Released footage used to compare the planned action and framing with the finished shot.

[4] PEACOCK MARKETING FEATURETTE — YOUTUBE
On-set footage from Peacock's The Miniature Wife How We Made This, providing production context for the physical setups, performances and wirework included in the case study.

[5] TECHVIS INTERNAL VERSION — NUKE
Internal technical media derived from approved Previs, including lens data, camera motion, speed and distance measurements.

[6] CASE STUDY B-ROLL — MAYA
Supporting Maya playblast showing the storyboard sheets used to develop the Previs.

[7] FINAL AIRED PLATE — ZOIC STUDIOS VFX REEL
Published VFX breakdown showing the composited elements alongside the final delivery.