What do practitioners state about handing a sequence from storyboards to previs to the live shoot, and what do they say is lost or changed at each handoff?

Practitioners on large VFX productions describe building an animatic from storyboards and script, then techvis to validate camera moves, placement and lenses; on set, operators and DPs went beyond the previs; producers find cut-in storyboards hard to read for feel, keyframed previs cameras feel mechanical, plate eyelines and camera motion force recomposition in postvis, and many postvis shot ideas come from director reviews. Curator qualifications: Articles/guide read 2026-10-22; practitioner testimony from large VFX productions only. AWN 2013 panel report 403 to curator: storyboards-thin-in-motion and on-shoot changes remain producer reading. "Much previs is discarded" not verified in the two sources re-read. Limitations: Articles/guide read 2026-10-22; practitioner testimony from large VFX productions only. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

{
  "citations": [
    {
      "url": "https://vfxvoice.com/the-last-jedi-previs-postvis-and-techvis-explained/",
      "note": "VFX Voice, The Last Jedi previs/postvis/techvis article (live); Epic Virtual Production Field Guide v1.3, interviews and techvis section"
    },
    {
      "url": "https://www.awn.com/vfxworld/previs-finally-getting-its-due",
      "note": "VFX Voice, The Last Jedi previs/postvis/techvis article (live); Epic Virtual Production Field Guide v1.3, interviews and techvis section"
    },
    {
      "url": "https://cdn2.unrealengine.com/vp-field-guide-v1-3-01-f0bce45b6319.pdf",
      "note": "VFX Voice, The Last Jedi previs/postvis/techvis article (live); Epic Virtual Production Field Guide v1.3, interviews and techvis section"
    }
  ]
}