When you look at video on any screen, you are seeing the end result of many efforts -- a communication, an idea. These visual and aural concepts are planned, produced and finalized in the various stages of production. Like a good story, with it's beginning, middle and end, each part of the process has phases of development.

This page is to document some of my experiences and illustrate my role in one phase of development, from one stage of production, known as pre-visualization in set design.

Most of my projects have been translating the vision and concept information from a director, production designer, art director or client. The sketch offers a very quick way to reach a consensus on where to start. Sometimes it's a layout with specifics, sometimes it's just a doodle.

Once on the same page, my first step is to turn the squiggly lines into an elevation. Using CAD to start a design keeps things in scale and ensures the layout can go as intended within the set space. This is crucial information whether building on set or going in to a location.

We all know that only the best directors and cinematographers can see into the future and know exactly what precise lenses and angles will be used on shoot day. This moment in previs aims to understand the future space challenges after all set pieces have been virtually built and placed. This view, paired with an elevation, is sometimes all anyone needs to see from me.

To me, the white room offers a view free of distraction and allows for a more accurate understanding of placement. It also gives insight into the contrast and ambience that can be expected before decorating and lighting the set. This can be useful early on in pre-production.

The openGL render is the most efficient in means of render time, with texture and lighting previews. In almost real-time, an image can be exported from any customizable angle. In this stage, I can add some color and representative textures, and with that, it is a great preview into the future.

Finally, I can add lights and more textures to the scene, and give everyone a much closer sense of the end result. However, this computer intensive render still lacks photo-realistic quality, as well as the properties of specific lights, lenses and camera settings that will be used on the day (of production).

These drawings and renders are also useful for prototyping individual objects or set pieces. The specs can be given to shop builders and scenic artists in advance to convey the desired qualities more precisely.