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SHOT DESIGN

机译：射击设计

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ILM artists did much of the previs for the show, which, because so many of the sequences were digital, was more akin to layout for an animated film than previs for a live-action film. "Guillermo [del Toro] had a team of artists that produced excellent storyboards, very detailed," says Visual Effects Supervisor Lindy DeQuattro. "We translated them into 3D and did a lot of what we call 'postvis' to block in the animation with camera moves after things were shot. It's really nice to do our own previs. The number one complaint about previs is that the artists cheat to get a look they want, and it seems fine until you put it into shot production. The previs artists might have a character moving too fast or not at all with the world rushing past. When you try to do physical simulations, they break because you can't cheat that way. When we do our own previs, these things don't bite us."
机译：ILM艺术家为该节目做了很多预演，因为许多序列都是数字的，所以比起真人电影的预演，更类似于动画电影的布局。视觉效果主管Lindy DeQuattro说：“吉列尔莫[del Toro]的艺术家团队制作了非常出色的故事板，非常详细。” “我们将它们转换为3D，并做了很多我们称为'postvis'的操作，以便在拍摄物体后通过摄像机移动来阻止动画。我们自己做的previs非常好。对previs的第一抱怨是艺术家作弊来看看他们想要的样子，直到您将其投入到镜头制作中之前，这似乎还不错。previs艺术家的角色移动得太快或根本不随着世界的奔腾而消失。当您尝试进行物理模拟时，他们会因为你不能那样作弊。当我们做自己喜欢的事时，这些东西不会咬我们。”

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