“Let’s reset the rig, the accelerations are in the red”
Incredible show ran by the super talented and technical genius Colin Green co-founder of Pixel Liberation Front.
Ah now that was an incredible experience.
Working in the same room as storyboard and story teller extraordinaire Robbie Consing and director Mark Palansky was fun, I don’t quite recall the work because it felt like family after a week.
Oh yes and there was also Michael Bay and his two gigantor dogs.
This show was so much fun !
I was introduced to JJ Abrams by my friend Robbie (again) and the first contact talking about how camera language is motivated by the emotion of the scene was great.
I got on board, 2 weeks by myself playing with the bridge sequence, trying to push for a rocket launcher just because I liked the design and after that, called in Mike and Dorian and we stated taking names and being awesome, the usual.
Working with JJ was the awesome part. Story centric, solving 10 minuted debate on why Ethan would not blow up the chopper by a quick “the drone flies in and Ethan quickly tries to take it down” - brilliantly kinetic.
This is the fun in previs : you get so early in the process that you end up working at the concept level…
Giant Robot using city property illegally
wanna live ? take your pants off
When in doubt blow some shtuff up!
We were brought on board by awesome producer Lucas Foster (Mr & Mrs Smith, Man on Fire) to do dev vis, help get the movie green lit.
Ideas started flying about the real world consequences of teleportation : air displacement, shockwave when the air displacement is too strong, scar in space, refraction dude to change in air density, slicing effect, tears in the fabric of space etc…
Once Doug was on board, the project was green lit and we started on a fight within the NSA headquarter which got cut off during the first rewrite.
One of the sequence that was worked on : the battle within Griffing’s lair. Armed with an experimental device stolen from a Japanese lab, the Paladins pry open a scar and walk on the other side.
A few fighting techniques which we studied before and during production …
Working at Digital Domain presents its challenges, but thanks to Brian Pohl who was supervisor on this show, everything was smooth.
Working for Rob is in itself a blast because he is energetic, inventive and enthusiastic about experimenting with shots and actions, we were given each one a couple sequences and come up with the cinematography.
It is Dorian Knapp and Patrick Perez who defined the look and feel of the show.
I was involved as lead previs artist on both movies, working at PLF. Started on Reloaded at EON entertainment which offices were located in Venice and moved over to the military base of Alameda were shooting began.
Working with some of the most talented and fun bunch, and the unique experience of (attempting to) previs what’s in the Wachowski’s head (mostly Steve Skroce’s drawings, let’s be honest)
For Zion !
“Give me a corkscrew on the Morpheus head clamp”
“This is the bible”
My first job in previs was as a freelancer for PLF, working alongside Ron Frankel who was sailing this show smooth as ever, working for Mr. Ultimate Cinematic-ness himself: David Fincher.
And all that thanks to Colin Green who saw some potential after I aced this chewing gum music video ! Wow lucky.