The Umbrella Academy, Cinecode, and the (super)powers of previsualization

Based on the Dark Horse graphic novels written by My Chemical Romance’s lead singer, Gerard Way, The Umbrella Academy was released on Netflix in February 2019. A visual feast for VFX fans, at the time of its release, the second season hit the number one spot on the streamer’s most-watched list.

And, with great superpowers come great visual effects. Previsualization (previs) was paramount in bringing different teams together to map the show’s complex scenes and deliver a compelling narrative. Plus, earlier decision-making in the production process meant completing the project on time.

Andrea Aniceto-Chavez and her team at Cinecode, the LA-based virtual production division of DigitalFilm Tree (Ted Lasso, Our Flag Means Death, NCIS: Los Angeles) led this behind-the-scenes process.

“Previs can help define anything within any department that’s leveraging it.”

How did you find yourself working in virtual production?

I’ve been working in this industry for about four years. I studied film and television at New York University, while also majoring in business. During this time, I was really interested in post-production.

I understood the film and TV world because I had already done so much in that space. I also had experience as a game engine artist from building a VR game. I was able to combine these experiences when I was approached by DigitalFilm Tree’s CEO, Ramy Katrib, to help build a virtual production department. Eventually I became a producer, and I now lead my own team.

Tell us a little about DigitalFilm Tree, Cinecode, and the type of work you specialize in.

Cinecode is the virtual production division of DigitalFilm Tree, a post-production house specializing in VFX, color, editorial, dailies, and remote secure cloud-based solutions. We previsualize for film and television.

We plan shots, scenes, stunt work, blocking, location, environment building, and much more, leveraging game engine technology like Unity to help our clients save time, money, and reduce their carbon footprint. DigitalFilm Tree worked on the VFX for The Umbrella Academy season one, and as soon as previs was mentioned for season two, we got to work.

What was the initial ask for previs?

They [The Umbrella Academy producers] first wanted to use previs for their version of the JFK assassination, a central theme in season two. This includes scenes in all other episodes that take place in Dealey Plaza.

Their number one problem was time. They were planning to shoot a week’s worth of shots on location, but found out that they could only use Dealey Plaza for two days. Our goal was to show how we could still tell the story in that location.

During previs, we blocked out the action and created the shots with the team. When they got to set, they only needed to shoot what was a priority and then tackle the rest, depending on time.

“90% of what we did in previs within Unity actually got shot. The 10% that didn’t was more so because they ran out of time and just wanted to prioritize other shots.”

Would you say that saving time is the most beneficial element of previs?

Saving time is much more complex than you’d first think. Previs is important because it can determine the way that production will shoot, and whether things will work or not, way ahead of time.

For example, a cinematographer can find out whether the crane they want to use will fit in the space before actually getting on set. We’re able to show them a sample of the space and a digital crane inside Unity. Also, a director can see whether the shots or direction that they’re going in with the actors is compelling enough to tell the story they’re envisioning. Previs can help define anything within any department that’s leveraging it.

Do you think previs is replacing traditional storyboarding?

Sometimes people see it like that, but I still think storyboarding is so important, as it shows us what the team is thinking of. Concept art teaches us more about textures and lighting and what the environment is actually going to look like. 

We can use previs to bring those images to life, and show teams how their creative vision can appear. This includes elements like movement and how fast the camera is going to go.

How often does what you show in previs actually get shot?

We spoke to the cinematographers before the second season of The Umbrella Academy was released – we hadn’t seen the final footage yet – and they said that 90% of what we did in previs using Unity actually got shot. The 10% that didn’t was more so because they ran out of time and just wanted to prioritize other shots.