POWER of Pre­vis

When deal­ing With a film­maker Who likes to cap­ture things in the mo­ment With a Vfx-heavy pro­duc­tion, adrian de Wet has some Words of ad­vice…

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Pre­vis was cre­ated for ten se­quences in­clud­ing the en­tire third act that takes place at Sanya Bay and for the glider chase that leads to the cli­matic con­fronta­tion be­tween Jonas Tay­lor (Ja­son Statham) and the pre­his­toric aquatic preda­tor known as a Me­ga­lodon. “You have to per­suade, ca­jole and do ev­ery­thing you can to make sure that the di­rec­tor is on board with you do­ing pre­vis,” states Adrian de Wet. “If he ap­pears not to be then you’ve got to go ahead and do the pre­vis. You get him look­ing at pre­vis be­cause at some point he’s go­ing to start re­ly­ing on it and that’s what hap­pened with us.”

De Wet ex­plains: “Just be­fore we went into prep Jon Turteltaub was brought in by Warner Bros. and he in­her­ited a lot of creative work that had gone into the Eli Roth ver­sion of The

Meg. Be­ing an artist, Jon wanted to make it his own movie. We got the writ­ers on board to re­write cer­tain sec­tions and had brain­storm­ing meet­ings with a few heads of de­part­ments where we would go through and try to fig­ure out what this movie re­ally was. Vis­ual ef­fects were lead­ing the charge in terms of the key se­quences be­cause it’s a vis­ual ef­fects driven movie. We were cre­at­ing a beat sheet, then sto­ry­boards, and tak­ing that into pre­vis.”

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