Other prototyping techniques used in the 1930s were miniature sets often viewed with a “periscope”, a small optical device with deep depth of field that a director could insert into a miniature set to explore camera angles. This technique was essentially the predecessor of modern computer previsualization. ĭisney Studios also created what became known as the Leica reel by filming storyboards and editing them to a soundtrack of the completed film. By the 1930s, storyboarding for live-action films was common and a regular part of studio art departments. The term “storyboard” first came into use at Disney Studios between 1928 and the early 1930s where the typical practice was to present drawn panels of basic action and gags, usually three to six sketches per vertical page. The earliest planning technique, storyboards, have been used in one form or another since the silent era. However, White himself said that he learned the idea, which he called a "psychological concept" from Ansel Adams and Edward Weston.
The term previsualization has been attributed to Minor White who divided visualization into previsualization, referring to visualization while studying the subject and postvisualization, referring to remembering the visualized image at printing time. Visualization is a central topic in Ansel Adams' writings about photography, where he defines it as "the ability to anticipate a finished image before making the exposure". It is also used in works that combine production techniques, such as digital video, photography, and animation, such as 3D animation. Previsualizations can utilise music, sound effects and dialogue to closely emulate the look of fully produced and edited sequences, and are most encountered in scenes that involve stunts, special effects (such as chroma key), or complex choreography and cinematography. On a larger budget project, directors may work with actors in the visual effects department or dedicated rooms.
The advantage of previsualization is that it allows a director, cinematographer, production supervisor, or VFX supervisor to experiment with different staging and art direction options-such as lighting, camera placement and movement, stage direction and editing-without having to incur the costs of actual production.
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