Alexander created “slap comps” that allowed the filmmakers to visualize a shot before committing to it.

And not only was the running production helped with this, the post-production of the effects work was able to roll along as the film was still shooting. Matte paintings were in motion and were greatly aided by the temp comps posted online for the folks at Industrial Light & Magic to view. Compositors gained greater access and freedom by seeing plates and elements almost as they were being shot, giving them the chance and confidence to try out ideas and report back to the production.

In the long run, running a concurrent effects previs helped tremendously with, as Alexander put it, the “organization and knowing [that] you have sufficient elements, so when you go back, you’re not stuck.” Alexander anticipates continuing to work this way in the future, and we’re both in agreement that there is a bright evolution ahead as technology marches on to create faster, smaller and better computers and video equipment. The future is “to use movement for elements in a shot,” to go beyond hi-res stills and slap comps. And that can only give the effects artists back at the ranch even greater options.

Both production and post-production benefited tremendously from the temp comps.

And when artists gain this confidence “the pipeline [becomes] quicker when elements are online for the artists to begin.” It practically brings Alexander and his team of artists to the shoot to experience firsthand the scenes that make their comps more live. “It puts power in the artist’s hands… gives them more options.”

Power to the artists.

Dariush Derakhshani is a shaky 32 and makes for an interesting Googlism. Nicely bald and slowly going insane, he has a fear of commitment and having to cook. He has written a slew of articles littered throughout the Web, wrote the book Introducing Maya: 3D for Beginners and contributed to Maya: Secrets of the Pros, Maya 5 Savvy and Getting a Job in CG: Real Advice from Reel People. He is currently working on more Maya books due out later next year. A senior animator at commercial effects house Sight Effects in Venice, California, he can be found at www.painfulurination.com or you can send him viruses at koosh3d@earthlink.net. He’s got flat feet and misses NYC.