Once I solidified the concept, it was time to bring the story to life visually. My first step was blocking out the establishing shot for the previs and making the whole previs. I turned to Maya, my go-to tool for 3D modelling and animation, to lay the groundwork for my scenes. Blocking is essentially sketching in 3D creating rough models and placements to get a feel for the composition, timing, and flow of the animation.
In this stage, the focus wasn’t on detail but rather on building a strong visual structure. I sculpted simple meshes and terrains, just enough to establish the mood and basic layout. This approach allowed me to see how the camera movements would work and whether the scenes aligned with the emotional beats of the story.
One thing I’ve learned during blocking is the importance of flexibility. As I worked, I often needed to adjust the placement of elements or tweak the timing to enhance the pacing. The previs gave me the freedom to experiment without committing to anything too complex or time-consuming early on.
This step also laid the foundation for the detailed work to come. While the meshes and terrains were placeholders, they acted as a blueprint for the next stage. It’s like planning a house: you need to sketch the layout before diving into the intricate design of each room. With a solid previs in place, I was ready to bring the world to life in full detail.