Computer Graphics World: It was the summer of 2000. We had survived Y2K, and I was busy working on David Fincher's Panic Room. We were attempting to previs the entire film before the start of principal photography. This was detailed and meticulous work. Next to my office was the editor, who was responsible for cutting the previs together into an exciting cat-and-mouse suspense thriller. Farther down the hall were the director's office and a small screening room.
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It’s pretty amazing how far previs has come and how integrated it is with modern films. I wonder if similar tools will come to live performance formats eventually. For the next long while, they probably won’t make sense because of simple budgetary restraints; even Broadway houses don’t have the kind of cash that Hollywood does to throw at auxiliary processes like this. But I could see really large commercial productions start to integrate previs, maybe in AR or VR, as an essential part of the design process (for more than media and projection designs, that is) a little bit down the road. The latest versions of Unity and Unreal are built to make VR content, and it’s probably not out of the question that somebody could develop tools pretty soon that could cheaply allow teams to bring in scenic, lighting, media, and even costume designs into a virtual space that can be updated in real time as the creative team and the director tests out ideas. We’re already seeing this on a small, slightly tedious scale with tools like Augment3d, but I think it’s a few more years before departmental previs tools really turn into something robust enough to be used across departments to make changes in real time.
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