Software
Review: FrameForge Previz Studio 3, Pg. 2
Other common sense implementations abound. Drag a digital character over to a chair and they automatically sit down. No manual posing required unless you want to do it.
Collision detection is a major feature of PS3. It comes back to designing a shot that can actually be executed. If you know the actual dimensions of your locations and build a corresponding set in PS3, when moving dollies, cranes or jibs around, you will “bump” into things if you get to close. This certainly helps refine camera moves for the space at hand.
The expressions controls exemplify the super easy method PS3 uses for modifying a character’s expression. By simply dragging a dot around the expression circle, the expression changes. The closer to the center of the circle, the less significant the expression is. While this is the simple way to do it, you can jump into the expression builder and create your own. This is the type of appropriate detail that the program provides in an incremental engagement.
Depth of Options
This program is rich. In fact from a story boarding capability, I couldn’t find anything that it couldn’t do and do well. while it comes with huge amount of stock content, filmmakers will need to create their own environments. Working in Blueprint mode lets users draw new environments like rooms and simply click and drag windows into the structure. Likewise with doors. Changing how doors swing is changeable by dragging control handles.
But you can also build outdoor scenes just as easily. PS3 comes with road presets and buildings. One fantastic feature is the ability to import Google Sketchup models. If you haven’t been hanging out around Google-y types, you may not see the advantage of this. Google now has a massive online and free catalog of free, realistic, low resolution models of real buildings from real cities. In fact creating a real cityscape that mimics a real city is super easy. Just download the models from Google and PS3 will import them, creating an optimized version for use within the program. Fantastic.
I found the inclusion of real camera equipment and requisite gear outstanding. When setting up your scene you can select the camera type you will be working with. This automatically engages restrictions appropriate to the equipment like focal length and FOV. Want your REDOne with 105mm F/stop 2.8 lens to be mounted to a PUP dolly on a Weaver Steadman 3 axis head? No problem. Cameras display the correct height and depth of field in renders.
While there is a bounty of stock items both textured and untextured, users can enter the “Green Room”, a modal interface that allows for further customization of textures, poses, expressions and more. Basically, the program will grant you as much control as you want. However, it doesn’t overwhelm users with those deeper options straightaway.
The total interface allows for a multicam editing environment to aid in planning shots and lighting. While this scene is in the wide-open outdoors, this capability is invaluable in planning and executing real-world shots in a confined area. Previz’s collision detection prevents equipment from doing things that will be impossible in the set location. Figuring out where to put all the gear is half the battle sometimes.
The logic Innoventive Software has used is compelling: don’t overwhelm users with options that they typically won’t use - provide them, but only as requested. It makes sense and is actually refreshing when compared to other video and CG solutions on the market. The mission of PS3 is clear - to make the creation of good storyboards easy.
For those into 3D/stereoscopic production, the camera rigs feedback parallax information and provide onscreen displays of 3D red/green or polarized separation. If you are actually going to be using a 3D camera rig, equipment usage in the confines of a location becomes even more of an issue; one that PS3 helps users develop within. (The stereoscopic version isn't just for sterescopic 3D films. It can be useful for traditional filmmaking in that, with a set of 3D glasses, the cinematographer can actually see a 3D version of what you want captured.)
Rendering/image options for the storyboard frames include the traditional “realistic” types of renders but if you are pushing story, sometimes that actually encumbers people - they get hung up on how things look instead of what it represents. Eliminate that problem by switching to one of the many alternative render solutions that span line-art to cel-shading types of looks. There is even a watercolor feel if you desire.
Upon “printing,” users can customize output to show a top-down shot, the actual camera shot plus, like normal story boards, space for linked script dialog. Additional info like camera settings is also able to be included. Really nice.
