Storyboard artists then drew more than 1800 individual storyboard frames. The process began with actors performing a dramatic "radio-style" voice recording of the entire script. For the first time, an animatic would be the basis for an entire feature film.
Through electronic cinema Coppola sought to provide the filmmaker with on-set composing tools that would function as an extension of his thought processes.
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The most comprehensive and revolutionary use of new technology to plan movie sequences came from Francis Ford Coppola, who in making his 1982 musical feature One From the Heart, developed the process he called “electronic cinema”. Another innovation included shooting video of toy figures attached to rods these were hand-manipulated in a miniature set to previsualize the chase through the forest on speeder bikes in Return of the Jedi. George Lucas, working with visual effects artists from the newly established Industrial Light & Magic, used footage of aerial dogfights shots from World War II Hollywood movies to cut together a template for the X-wing space battles in the first Star Wars film. The making of the first three Star Wars films, beginning in the mid-'70s, introduced low-cost innovations in pre-planning to refine complex visual effects sequences. Similar to the Leica reel, animatics were primarily used for live action commercials. An animatic is a video recorded version of a hand-drawn storyboard with very limited motion added to convey camera movement or action, accompanied by a soundtrack. In the 1970s, with the arrival of cost-effective video cameras and editing equipment, most notably, Sony's ¾-inch video and U-Matic editing systems, animatics came into regular use at ad agencies as sales tool for television commercials and as a guide to the actual production of the work. This allowed them to accurately depict the set as seen by a lens of a specific focal length and film format. Set designers were also using a scenic technique called camera angle projection to create perspective drawings from a plan and elevation blueprint. Other prototyping techniques used in the 1930s were miniature sets often viewed with a “periscope”, a small optical device with deep depth of field that a director could insert into a miniature set to explore camera angles. This technique was essentially the predecessor of modern computer previsualization. ĭisney Studios also created what became known as the Leica reel by filming storyboards and editing them to a soundtrack of the completed film. By the 1930s, storyboarding for live action films was common and a regular part of studio art departments. The term “storyboard” first came into use at Disney Studios between 1928 and the early 1930s where the typical practice was to present drawn panels of basic action and gags, usually three to six sketches per vertical page. The earliest planning technique, storyboards, have been used in one form or another since the silent era. However, White himself said that he learned the idea, which he called a "psychological concept" from Ansel Adams and Edward Weston. The term previsualization has been attributed to Minor White who divided visualization into previsualization, referring to visualization while studying the subject and postvisualization, referring to remembering the visualized image at printing time. Visualization is a central topic in Ansel Adams' writings about photography, where he defines it as "the ability to anticipate a finished image before making the exposure". Digital video, photography, hand-drawn art, clip art and 3D animation combine in use. Previsualizations can add music, sound effects and dialogue to closely emulate the look of fully produced and edited sequences, and are most encountered in scenes that involve stunts and special effects (such as chroma key). On a larger budget project, the directors work with actors in visual effects department or dedicated rooms.
The advantage of previsualization is that it allows a director, cinematographer, or VFX Supervisor to experiment with different staging and art direction options-such as lighting, camera placement and movement, stage direction and editing-without having to incur the costs of actual production.
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