(also previsualise, previsualize)
- To visualize how (a thing) will look when created or finished; to imagine or predict (the result of a process or act).
Previsualisation is an important part of the production process, communicating ideas and concepts between the various departments involved.
Evolving production workflows with the use of 3D digital techniques, combined with a millimetre accurate digital twin of a venue, allow creative and production teams to;
- Communicate ideas more effectively
- Produce accurate production resources in the most useful formats
- Develop accurate lighting and video visualisation for programming
- Identify problems and solutions before reaching the venue
- Save time, money and resources, making productions more sustainable
3D digital previsualisation offers advantages in key areas;
Design Concepts – Allowing creative teams to develop and share ideas visually, quickly and effectively.
Rehearsals – Recreating proposed designs, in an accurate digital twin of the venue, provides essential information, such as sightlines and blocking issues, as well as conveying the environment to the performers in an easily understood way.
Technical Planning and Construction – CAD plans, derived from the venue model, can be used by the production team to create accurate resources during the planning process.
Pre-programming - When imported into industry standard visualisation packages, the digital twin offers the ability for lighting and video departments to program shows off-site, providing proof of equipment positioning and saving hours of in venue plotting time.
Sustainability – A digital twin of a venue will reduce the frequency of site visits required during the initial phases of the production. Visualising set pieces and placement, with the creation of accurate design drawings, can reduce construction time and waste of resources. Pre-programming can reduce the amount of time required with full cast and crew in venue, increasing efficiency.
For more information on how Stageport can transform your production process contact Jazz - email@example.com
"I simply would not have been able to do this job effectively without these models. I was working with some quite challenging set projection surfaces and finding the optimum position to maximise light output and coverage from the projectors would have taken days of trial and error in the theatre that we did not have. With this model I used a 3D animation program to simulate the projection angles, which helped make quicker, earlier decisions about how to allocate the kit available throughout the space. This also meant that, incredibly, there were not any nasty surprises when we got into the venue, as everything went suspiciously to plan...!
Due to the nature of the project - a video and captioning design - it proved to be essential to get a good sense of scale early on, ensuring that the impact of the visuals is in proportion to the space, the text is not too big or too small etc, so that I could get on with the work confidently knowing that I will not need to change it all when I get into the theatre.
The model was also useful for the director and set designer, as it allowed us to see renders of audience sightlines from various positions in the audience, allowing the director and designer to make adjustments and compromises in the design and blocking as necessary.
Having access to a resource like this takes more and more problems out of the tech week, making for a much smoother experience in the theatre where more time and energy can be focussed on fine-tuning rather than completely restructuring.
I will never rely on a 2D PDF ever again!"
Daniel Hughes – Video Designer
Co-production with Solar Bear and The Royal Conservatoire of Scotland
Performed at Tramway
Written by Douglas Maxwell
Directed by Jonathan Lloyd
Set and Costume Designer by Ruth Darling
Lighting Designer by Lizzie Powell
Captioning Advisor by Ciaran Stewart
Sound Designer by David Graham