#previsualization

[spaceintruderdetector]

[itiltlabs]

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[designautomations]

Presently in the process of developing a product? Our team can bring your concepts to life without the need for you to spend time on product development, prototyping, or manufacturing. Pre-visualization allows you to visualize your design much earlier on in the development process which, in turn, can reduce overall development costs and help you get to market sooner.

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[sunfyrejoker]

Sunfyre, previsualization.

"Before The Throne" — House of the Dragon S2 | Previz Breakdown.

[archivistbot]

Hi everyone, long time no see.

It's been a while since my last update here, and I wanted to take a moment to address this project's status and express my heartfelt gratitude to all of you.

As many of you may have noticed, Archivistbot has been inactive for quite some time now. I think it's time for me to officially acknowledge that I likely won't be going back to the project. This decision wasn't easy to make, but several factors have contributed to it. The primary reason was the changes to Google Colab's GPU usage limits, which make it impossible for me to continue training the model unless something changes. Additionally, at the time I'd been facing some profound mental health challenges that impacted my ability to dedicate time and energy to Archivistbot.

This blog was my first foray into alternative storytelling, and it has been an incredible journey. What started as a way to kill time and explore a new technology during the beginning of the widespread availability of LMMs quickly evolved into something much more meaningful. Through this project, I learned about alternative mediums for storytelling and fell deeply, madly in love.

I'm really thankful for the experience and for all of you who supported me throughout this. The friends and the community I found through Archivistbot have meant so much to me.

As I step away from Archivistbot, I want to direct you to a special project by my friend Mia. She's been a long-time fan of the early 2000s supernatural drama TV show Rearview Mirror, and is preparing to begin the endeavor of compiling all scripts and previsualizing material on her website. It's a labour of love and it would mean a lot to me if you checked it out. You can find her blog here.

Thank you all once again for your support, enthusiasm, and friendship throughout this project. It has meant the world to me, and I will always look back on this time with fondness.

I love you all.

-Mod

[lizardsfromspace]

Okay, Matrix plagiarism case postscript

One thing I didn't answer is how she got the Wachowski's timeline wrong. I still don't know, but it appears she essentially shifted their lives back a decade

She says less than a decade ago they were running a construction business, but actually, working at a construction company is what they were doing in 1986. In 1976 Lana and Lilly were eleven and nine years old respectively. I can't explain why she messed this up, beyond having to age them up a decade for the story to work

But this screencap also brings up another thing she mentions repeatedly that I didn't mention - the smoking gun in her claim is that...the Matrix ripped off her words verbatim for its opening crawl. The opening crawl...to The Matrix.

Huh?

So her story is - and unsurprisingly the timeline here is jumbled, for instance, citing production interviews from 1997 when the film wouldn't enter production until 1998 - the original version of The Matrix contained a Star Wars-style opening crawl, and this was the most directly plagiarized part of the film.

She claims this opening crawl was, in fact, in the theatrical release of The Matrix and only removed when it came to home media, because she. Because she called the FBI on the Wachowskis for stealing the idea of opening crawls from her

The theatrical cut does differ from later versions slightly - most infamously the Wachowskis made the green color filter much more green in the second DVD release, to make it consistent with the style of the sequels - but if there was a opening crawl mandated by the studio, nobody but her has mentioned it, and I find it hard to believe critics wouldn't mention it.

Because this is Dark City. She's clearly confused The Matrix with stories about the studio's meddling with the 1998 film Dark City.

Dark City was the dystopian sci-fi film that had a opening narration explaining the whole plot foisted on it by the studio, and critics mentioned it. Basically every review mentioned it (some even suggest covering your ears or muting the film the first time you see it, at least until the Director's Cut removed it). Meanwhile, reviews of The Matrix praised its opening from the very beginning: how it drops you right into things and lets you find out about its world as Neo does. It's just not possible that the theatrical release has a opening crawl no one mentioned when I can pull up full comparisons of theatrical vs first DVD vs second DVD vs Bluray. Whatever story she read either was about Dark City, or was a Wachowski saying in passing "yeah the studio wanted us to add one but we didn't".

Another thing I didn't touch on is just how much it hypes her up as a untouchable genius of cinema. For instance, she claims to have come up with the effects of The Matrix in 1983 too

(one funny part is how little she brings up The Terminator at all? She just threw it in as a bonus I guess)

I looked up how they did the bullet time effect in particular and...it would have been impossible in 1983. It's not just high speed photography; it's entire banks of cameras, placed in the right place by computer previsualization, their sequence programmed, and with all the elements composited together by CGI. Even stylistically - the true creator of the effects cited Akira as a influence, and Akira the movie didn't exist in 1983. Neither did the type of Hong Kong action film that heavily influenced it. I guess it would be possible to write down "someone goes really fast and we depict it like they slowed down time", concepts of a plan etc

But like.

She's destined to be one of the most profound master writers of the 21st century. This is a book proving she's never written anything. It has a pitch for The Third Eye, it has a second film treatment tacked on at the end, and it has copyright registrations for her sequels to Terminator and The Matrix. M. Night Shyamalan's character in Lady in the Water was destined to be a great writer too, but he actually wrote a book. He didn't put out a book with a decades-old synposis that was never finished & reams of legal documents and a bio saying, I'm one of the greatest authors of all time. Because who needs writing when you have destiny, God, and the ancient superrace living in the Pyramids on your side?

This is my for real last post on this since I ended up just depressed about it in the end. I think the worst part is, she knows she lost. But she still goes to the press telling a story she knows isn't true, and people believe her. Some of it is transphobic - "stop saying it's a trans allegory when they stole it"; some of it runs with the Christian oppression narrative (full disclosure, I was inspired to look for her book again bc while looking up another crank, I saw an interview with her in the sidebar of a religious website); but a lot of it is just people who innocently want it to be true.

One of the few pieces debunking her story is on a website called Black Excellence - it doesn't even have a byline - said this:

"There are many people, especially Black people, who wanted the story to be true. It symbolized a Black person, especially a Black woman, finally winning against the system. When Sophia Stewart spoke about how mainstream media would not give her the time of day because almost all of them were owned by Warner Brothers, some Black media embraced her. Blogs spread her story, especially the initial story on Globe that contained errors about the case.

"But the story is not true. Sophia Stewart did not become the richest Black person in the country. But that did not deter her from going on several shows and publications to tell her story."

She took advantage of people's urge to root for the underdog against a corporation - and seized on a lack of mainstream coverage to claim her story was being suppressed. But it just isn't true. Also yeah she ridiculously claims that Warner Bros owns every news website and newspaper and that's kind of funny I guess. Well, that's it. I'm never doing this again

[lynaferns]

I handmaded an A4 metric chart page template.

(because I'd like to design stickers and stuff at some point)

Very much handmade so it's not pixel perfect but it's nitid af.

These are some of the previsualizations in centimeters and inches. Under the cut are all the transparent versions.

Remember to click the image and open it in another tab on desktop to download the correct size.

I just realized they are hard to see if you are on dark mode lol, sorry.

Horizontal cm

Horizontal in

Vertical cm

Vertical in

[mpreghotties]

So unfortunately, Easton and Brett had to drop out of the Competition this year to deal with some crime and political issues at the VORE Police Force.

But here are some previsualizations of what they would have looked like!

[not1rightway-pod]

Whoops! - Episodes 4 & 5

Can you believe that there are 5 episodes up now?! Sorry about missing last week's episode. Life happens, yanno? Here's the words you need to know from episodes 4 and 5.

Episode 4 - Joey Filipiak

Giallo Films

A genre of Italian cinema that combines thriller and horror elements in a murder mystery story. Popular in the 1960's and 70's

Previs

The process of visualizing a scene before the production (short for Previsualization).

Episode 5 - Ella Cesari

Storyboard

A graphic organizer used in the previsualization process to identify key moments in sequence.

Toon Boom

An animation software.

+ Bonus

Vampire Clay (2018)

Phantom of the Paradise (1974)

[mariowritesforyou]

Scale Model I Did For My Play

A physical mock-up of Your Home (now a web serial here: mariowritesforyou.com)’s set design I did.

This was my last project for college. I wanted light projections to light up the whole stage with patterns I had designed. To previsualize this I clipped on the printed patterns to the cardboard model. There you can see the tiny audience seats and Meli’s big chair.

[zenballmaster]

i watched some kfp3 previsualization stuff from when i'm assuming they were working with the characterization of li being more of a stern Straight Man or something and i am once again kinda Sad that they ultimately didn't go in that direction bc the prospect of him not being on board with all this kung fu stuff really opens the door for more interesting character depth imo

like the gist i'm getting from this is that he is discouraging po from kung fu simply bc 'pandas don't Do That' but if it turned out to be based actually in a fear of losing po again, that po is putting himself in danger in this position and with this line of work, idk

also love the idea that mr. ping himself also had A Time to grapple with that as well but by the time of the third movie is long past it, so that could give those two something to Talk About

[the-acid-pear]

I've realized two mayor issues with my art: 1) I don't previsualize what I'm drawing before doing it which makes everything end up looking wrong and 2) I forgot hips exist

[finallygaycoldones]

Yipeeeee I love previsualization!!! (I don’t know what that is)

I know Ted and I could be besties because I have had SUCH good practice talking to film guys and pretending to know what all of that lingo means like I’ve been training for this all my life

[bloodandchocolatefans]

More about some locations and scenes...

Kevin Phipps, who has worked as an art director on some of the most stylistically distinct films of all time, crafted a world of shadow and muted color for the wolves to inhabit. “He is one of the best art directors in the business and this is his first job as production designer,” says executive producer Hawk Koch. “The sets he created on this film were simply spectacular.”

Phipps was able to use the visual richness of existing locations in Bucharest to the production’s advantage in many instances. He transformed a former heating plant into the Brookwood Absinthe Distillery, which serves as Gabriel’s lair 

and created the Dacian Club by modifying a derelict half-finished concrete structure: Ceaucescu’s (the former leader of Communist Romania) Biblioteca Nationala (the National Library). 

Dancy attests to the seamless integration of Phipps’s sets with the city itself. “The attention to detail is such that the sets fit in perfectly with the city as it really is.”

The filmmakers’ urgent need to provide a secure shooting environment for the wolves as well as for the cast and crew resulted in Phipps’s greatest challenge: the creation of several naturalistic forest sets, including a creek and a river, on MediaPro’s soundstages.

Phipps and his team rose to the challenge by using some 2000 cubic meters of soil, 50-60 real trees along with some polystyrene and fiberglass trees to reproduce a Romanian forest so authentic that it soon attracted its own mosquitoes, lizards as well as a resident owl. He recalls, “The first time we had a show-and-tell on that forest set, suddenly I looked up and there was an owl flying around in the canopy of our trees. Katja looked up and saw the owl and said ‘Kevin, you know that’s a really good sign that we’ll be really happy shooting on this set.’”

Once the creek and river sets were conceived, Phipps worked closely with SFX supervisor Allder on the mechanics, the water system, the pumping system, the filtration and the volume of water that would bring the sets to life.

The filmmaking team had already previsualized the world of the film using small scale models. “You can get down and get your lens into the model and really see how the set is going to shoot and what will be in each frame,” explains Phipps. “This approach was especially useful given the amount of running in the film. Everybody knew what they were getting – stunts, camera, lighting, even the actors.”

sources:

https://www.vladvieru.com/blood--chocolate---2005.html

http://www.kevinphipps.com/b-l-o-o-d--c-h-o-c-o-l-a-t/b-l-o-o-d--c-h-o-c-o-l-a-t/

http://blood-and-chocolate.katja-von-garnier.com/

http://madeinatlantis.com/movies_central/2007/blood_and_chocolate.htm

[tulipq]

Since I don't have to explain the nearly wrong monkey thing, I wanna add that there's an obvious end run on this. The machine gen slop will be used for previsualizing, so producers who have 0 creativity can tell artists to "make a version of this that is fixed, for me".

Just like there's no copyright on a mountain, but there is one on a painting of a mountain, an artists redrawing an uncopyrightable machine gen image might make some that can be intellectual property. This would be awful.

Imagine having a passion for art, spending years getting good enough to do it for a living, and you are told that you just need to act as a legal bridge that smuggle machine gen slop into being Intellectual Property. That might be worse than working in fast food if the pay is comparable.

This really makes the Studios costing themselves even more money (and getting more unions involved) by prolonging the strike for the promise of free ai labor even more fucking funny. you dumb fucking bastards lol

[kvibestudios]

"Revolutionizing Indie Filmmaking in 2025"

In the dynamic world of independent filmmaking, the year 2025 is demonstrating a major transformation. As technology becomes increasingly accessible, indie filmmakers both within and outside Hollywood are leveraging these advancements to create high-grade content with more limited budgets. This evolution empowers creative expression while achieving a professional polish that was traditionally the domain of big studios. Let's explore the tech tools reshaping the indie film sector, fostering inventive freedom, and enhancing production workflows in 2025.

The foundation of any indie project in 2025 involves using adaptable, high-performance digital cameras. At the forefront are models like the Canon EOS C400 and Sony FX3. These cameras are elevating the visual benchmark for indie films by offering cinematic quality and seamless post-production integration. With advanced low-light capabilities and modular designs, they narrow the gap between independent and big studio productions.

Equally important are the advancements in editing software. Programs such as DaVinci Resolve and Adobe Premiere Pro are essential in achieving a refined final product. Their innovative AI-driven features streamline workflows, from intelligent scene detection and automatic color grading to automated subtitle creation. These tools are vital for compact teams aiming to reduce production time while ensuring high quality.

AI Tools Revolutionizing Filmmaking

The incorporation of Artificial Intelligence (AI) in indie filmmaking is transforming all areas of production. Tools like Cinelytic, RivetAI, and ChatGPT help streamline the creative process. AI supports everything from script analysis to audience insights, allowing filmmakers to focus on creative decisions. AI-generated voice synthesis and automated editing not only conserve time but also enhance reliability and uniformity.

The next-generation sound design tools are crucial as well. Portable high-quality microphones and AI-enhanced audio correction tools, such as iZotope RX, enable filmmakers to create engaging sound environments. Emerging trends in spatial audio are noteworthy for crafting compelling viewer experiences with a 'blockbuster' feel, achieved on smaller budgets.

Planning, Collaboration, and Productivity Apps

The planning phase has become equally digitized. Apps like Previs Pro, Dropbox Paper, and RePro offer invaluable features for previsualization, collaborative storyboarding, and streamlined team coordination. These tools are responsive to the agile demands of indie filmmaking, allowing teams to adapt swiftly to changes on set.

The impact of these technologies goes beyond production alone. Distribution and community interaction are also evolving due to these technological advancements. Social media and direct-to-streaming platforms enable indie filmmakers to bypass traditional barriers, reaching larger and more diverse audiences. Crowdfunding platforms have become more important than ever, supporting projects with tech-forward marketing strategies and strong digital community engagement.

Embracing Immersive Experiences

By incorporating Augmented Reality (AR), Virtual Reality (VR), and Extended Reality (XR) technologies, indie filmmakers redefine how audiences engage. Once considered experimental, these tools are entering mainstream usage, unlocking new storytelling possibilities. Filmmakers are encouraged to use VR and AR in short films or festival entries to increase viewer engagement while setting their work apart from traditional offerings.

This expansion is not solely about using flashy tools; it's about achieving sustainable production models. Affordable technology makes "run-and-gun" filming more feasible, allowing smaller crews to shoot on location with greater efficiency. Adopting compact setups—such as minimalistic production kits with an adaptable camera, lightweight lighting, and cloud storage—further boosts efficiency by reducing both financial and environmental costs.

Mastering Best Practices for Technological Utilization

For independent filmmakers aiming to effectively integrate these advancements into their projects, several best practices should be adopted. Firstly, investing in top-quality camera equipment with 4K and RAW features ensures enduring visual standards. Implementing AI at all production stages—from initial concept to post-production—can dramatically decrease time and workload, allowing filmmakers to focus on storytelling and creative refinement.

The approach of using cloud-based planning tools is essential, as it not only supports remote collaboration but also safeguards data, removing geographical barriers from the creative process. Moreover, creating content that integrates immersive and dynamic sound and visual experiences can enhance storytelling, particularly appealing to festivals and niche audiences.

Ultimately, adopting these technologies affords indie filmmakers the chance to innovate, compete, and flourish in an ever-evolving film industry landscape. As 2025 unfolds, astute filmmakers will continue to utilize these tools and adapt effectively, ensuring their creative visions reach their intended audiences.

The spotlight is on filmmakers to embrace this tech-driven zeitgeist, inviting them on a journey toward evolution and excellence in the realm of independent cinema. As indie filmmakers embrace these technologies, the future of filmmaking appears as an exciting domain, brimming with innovation and creativity, steered by technology and fueled by passion.

#IndieFilm #Filmmaking #TechTrends #Innovation #CinematicTools

Explore essential indie filmmaking tools at https://www.kvibe.com.