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All of this was triggered via a tablet operated by John Knoll. Barry Howell: One of the things Gareth said he liked about previs was that it gives him a solid guide to reference when he gets to set and it allows him to show other departments some of his ideas in motion to bring everyone on the same page.

The first time we walked onto set and saw the big screens playing out one of the previs renders, he came over to show us this setup and with a push of a button sent the entire room into hyperspace. vfxblog: What were some of the ways the director could use previs on set, especially in terms of using it to find different POVs? But at the same time he also likes being able to go rogue with the camera and explore other angles while on set that may not have been visualized by drawing boards or animating previs.

Our first phase of work began in the art department at the Presidio, working with Production Designer Doug Chiang.

With this, we could take any previs shot, select a few points of interest, prioritize them and set a boundary area for the camera to move around in.But what were the very first things The Third Floor did on Rogue One to get started on such a huge project, especially when you have a seemingly clear slate?Barry Howell: We were thrilled to join the project, of course because it was a Star Wars production and also because myself along with The Third Floor’s other five founders met while working as previs artists on the “third floor” of Skywalker Ranch on and were especially excited to support director Gareth Edwards again in realizing the creative ideas he and the producers at Lucasfilm had for the movie.How did you ensure the sequence was watchable and coherent?Can you also talk about how various assets for this sequence were built and whether you used ILM models/iterations?five times and deconstructed the storyline, the characters and the visual effects, it’s fun to also consider how some of the iconic shots came to be.

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